Reviewed by: The Witch of Edmonton Amy Scott The Witch of Edmonton Presented by Creation Theatre, live online via Auditorium, 5–20 March 2022. Directed and adapted by Laura Jayne Wright. Creative Producer Lucy Askew. Assistant Producer Luwa Adebanjo. Production Manager Giles Stoakley. Stage Manager Conal Walsh. Assistant Stage Manager Michael Deacon. Video Design by Stuart Read. With Lola Boulter (Winnifride), Guy Clark (Frank), Leda Douglas (Kate Carter), Ryan Duncan (Dog), Chloe Lemonius (Susan Carter), Graeme Rose (Old Carter), Giles Stoakley (Old Thorney), P. K. Taylor (Old Ratcliffe), Anna Tolputt (Elizabeth Sawyer), and Amelia Fewtrill (Anne Ratcliffe). When theaters closed in 2020 due to COVID-19, Creation Theatre began blending live performance with a digital platform to produce a unique playgoing experience. Their March 2022 production of William Rowley, Thomas Dekker, and John Ford’s The Witch of Edmonton effectively demonstrated the possibilities for this kind of format, and reflected the company’s ongoing efforts to develop the audiovisual effects used in their productions of The Duchess of Malfi (March 2021, reviewed in SB 39.3) and The Tempest (April/May 2020, reviewed in SB 38.3). The title page for the 1658 The Witch of Edmonton categorizes it as a “tragicomedy,” and Creation Theatre’s format heightened the play’s weirdness, generic indeterminacy, and nightmarish atmosphere. This well-acted production thoughtfully explored the perspectives and beliefs about witchcraft that the play not only dramatizes and questions but also reinforces. Wright began with the question of how the audience was to judge Elizabeth Sawyer, with actor Ryan Duncan opening the play by reading the indictment of Elizabeth Sawyer directly to the audience and then exhorting the audience to “see for yourself, judge for yourself.” While viewers did not know it yet, Duncan was cast in the role of the dog and was therefore revealed later as the play’s central malevolent force. In this extratextual introductory frame, Duncan had not yet donned the sharp teeth that he would later wear to signify his canine role; however, with his derisive delivery of the indictment, he was clearly already “in character.” For instance, when he read that Sawyer was accused of having a dog familiar, Duncan rushed over that detail, trying to hide, as it were, his own complicity. Duncan’s encouragement to the audience to “see for yourself, judge for yourself ” was quickly complicated by the fact that, when the dog spoke his first lines in the play proper, the viewer slipped into the dog’s point of [End Page 460] view. Looking at Sawyer from a position below her through a red filter, the audience saw her as a dog might see a human. The viewers were not “seeing for themselves” in this instance, in other words, but rather seeing with the dog’s eyes. The larger point that Wright made here and throughout the production with shifts in point of view was that there is no one authentic point of view through which to see and judge. Indeed, when the dog finally became visible to the viewer, only his sharp teeth differentiated him from the other characters and his image was transparent, layered over Sawyer’s own face, making him seem less like an otherworldly fiend than an embodiment of Sawyer’s interiority. Throughout the production, between scenes, women read the indictments of historical women who were, like Sawyer, accused of and executed for witchcraft. Wright’s decision to weave these histories into this production summoned the specter of the real Elizabeth Sawyer, in contrast to the play’s version of her. It reminded the audience that if they were to judge Elizabeth Sawyer as they had been encouraged to do by the play, The Witch of Edmonton was just one text in a much larger history. The simple black and white backgrounds for scenes in Edmonton (forests, a church, a row of houses, a library) matched the bleakness of a play in which there is very little hope that a better society will emerge after the punishment of Sawyer and Frank Thorney. The backgrounds also stylistically matched the black and white filter used when the indictments against other historical women were read. The production in those moments resembled...
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