In the litany of children’s literature, very few authors loom as large as Roald Dahl. With a writing career which spanned the better part of a half century, Dahl’s novels tapped into the darker underbelly of the youth psyche and firmly embedded these fantastical stories and absurd adventures in the social consciousness of multiple generations of fans worldwide. His tales of underdog heroes and outrageous villains have been translated to the cinema, television and, of course, the stage. One such novel which translated well to all three mediums is “The Witches”, whose stage incarnation has now taken residence on the boards at Theatre 29.
This adaptation of Dahl’s novel by playwright David Wood, stays rather faithful to the original novel in mood and substance. The tale of the wickedest of witches living amongst us, looking like your next-door neighbor or the check out clerk at the local grocery store (unless they have been replaced by a machine, yes, I’m calling you out Wal-Mart), have some built-in creep factor that is used to full effect here. Debut Director Nena Jimenez, a theatrician who has gained quite a pedigree over many years as a technician, Stage Manager and directorial staffer at the theatre, takes the proverbial bull by the horns in this production. While many newer directors might want to aim for a work that is technically uncomplicated, Ms Jimenez chose a work that required puppetry, specialty make-up including prosthetics and atmospheric special effects. In this she did a remarkable job, not just in being able to pull it all off at a theatre not known for challenging stagecraft, but that the effects do not overwhelm the performances but augment, as they should. It would seem investment in a well-rounded practical theatre education has paid this director dividends.
At the center of the tale is Boy, played with maturity and grace by Julius Dean. Mr. Dean is making his main stage debut with “Witches”, having only previously been seen in the organization’s Summer Youth Theatre programs. His facials and vocals are strong, surprising in one so young in his debut starring role. He carries the bulk of the show, in monologues as well as scene work, and you never grow bored. That is quite a feat, considering you never see the actor again in the second act as a human. I think there is a fine career ahead for this performer. Boy’s ever faithful Grandmama, played here by veteran actress Char Childs, connects to the soul of the piece. A bit of a rebel, fiercely loving but with a slightly dark tinge, Grandmama is the cigar smoking, sagacious fireball you want at your back when the chips are down. Ms. Childs, making her stage return for the first time since the pandemic, is everything you want in a granny gunslinger: Warm, Loving, Funny but fierce if you threaten what she claims as her own. Carrying the wisdom about witches…real witches that is….the viewer would, at first, take her stories as (at worst) a fanciful yarn. But as the facts roll out, it is an unmistakable cautionary tale. Ms. Childs holds the audience’s hearts in her hand, even while sometimes giving it a light squeeze.
Every tale needs its’ villain, and the role of the Grand High Witch ranks right up there with Miss Trunchbull from “Matilda” or Spiker and Sponge from “James and the Giant Peach”. Played here with thinly masked malice by another stage veteran marking her return to the stage, Janet Peercy, this witch is the personification of evil. Whether cackling lasciviously at torching a fellow witch who deigned to question this grand dame, revealing her grand plans for the children of “Inkland” or verbally torturing an innocent changeling frog, Peercy shows acerbic wit, guile and more than a touch of dark humor in the role. You really want her to get her just desserts at the end!
Supporting this trio are the Jenkins family: the food obsessed Bruno, played by another young actor Eli Amaro, his abusive bully of a father, played by a Theatre 29 newcomer Graham Kolbeins, and the enabling mother of the year, played by another newcomer Laura Harwood. Mr. Amaro is believable as the bratty, acting out for attention Bruno: a constantly eating, complaining protagonist. He shares the distinction with Mr. Dean of having to be a puppeteer in the second half of the play and lean into voice acting to convey what his character arc is. They both work off each other very well, particularly as the skill is new to them both. Mr. Kolbeins plays his role as the stuffed shirt blowhard that Mr. Jenkins was written to be. He is offset by Mrs. Jenkins, in the role Ms. Harwood shows great flexibility between smothering affection for Bruno and the shrillest of harridans, often in the same sentence. I appreciated that all three of these family members operate with the same accent, a working-class Cockney that is not over-powered and fits well as strangers in this most strange land. Another new face, Joe Chaplain, debuts in two larger supporting roles, a no-nonsense Doorman and stuffy Head Waiter (he also appears as a Lawyer). All were distinct in flavor and mood and were fun to watch.
The rest of the ensemble play all the other residents of this theatre universe. The Witches themselves (Eliana Hicks, Sabrina Olsen, Tiffany Crocker, Joseph Rego, Kathryn Ferguson and Catherine Inscore) are a barrel of fun in the witch conference scene. I won’t spoil the surprises for you, let’s just say that you will get some up-close and personal time with them. If you bring little ones, be prepared for a few light shocks. The witches are the most make-up intensive parts in the production and the effects are effective and suitably creepy. The stand-outs amongst this coven are Sabrina Olsen as the Grand High Witch’s #2, a comedic dynamo who is equal parts daffy and evil. Eliana Hicks plays an ill-fated witch and, conversely, a harried waitress in the second act. Both roles are suitably unique, engaging and hilarious. In a homage to the 1990 original film, the director cast a man to be one of the witches, Joseph Rego. He takes every opportunity to eat the scenery in the role. The others only have one scene to make their mark, and they all do, in their own unique witchy ways.
The Kitchen Staff (from arguably one of the funniest scenes in the whole show) in this production are Kurt Schauppner, Adonai Patu, Elian Hicks and Liam Keeran. The chaos that ensues in trying to “kill the mouse” had the house howling the night I saw it. With more a few Monty Python influences, the scene is a standout and it will never let you look at gravy the same way again. Most of the ensemble players here also played multiple bit parts in earlier scenes, with strong character choices throughout. I would be remiss if I did not mention the youngest cast member, Isla Keeran, who played a little frog (transformed thus by the witch some time before). Watching her move, I don’t remember ever being that flexible!
The show’s design did not require an elaborate set, depending on focus lighting and rear projection. Mobile set pieces, masterfully built by Doug Peercy, established enough of the physical world to establish permanence, but not get in the way. Technical Director Lisa Hodgson’s lighting keeps everything in its place and everyone lit. Stage Manager Imelda Patu had her work cut out for her, but her team keeps the acenes rolling and the effects going off without a hitch. There are a lot of smoke effects, along with everything else, and they are handled quietly and proficiently.
“The Witches” is a terrific show to bring the whole family to and perfect for the “not too scary” Halloween outing. The production has two more weeks. I would suggest getting your tickets now. You won’t regret it. “The Witches” will be playing at Theatre 29 Friday and Saturday evenings at 7:00PM and Sunday matinees at 2:30PM through October 22nd. Tickets are available at theatre29.org/tickets, by calling (760) 361-4151 or at the door
