The new musical Coven, created by Rebecca Brewer and Daisy Chute, is inspired by the infamous Pendle witch trials of the 17th century. The production aims to transform the stories of the accused women from mere footnotes in history into compelling narratives of unjust persecution. Set within the confines of a prison, the show presents a group of Lancashire women who are grappling with their fates as they await trial.
Among the characters are Frances, a church-going woman portrayed by Shiloh Coke, who faces accusations from her own husband while mourning the loss of her children; Rose, played by Lauryn Redding, a heavily pregnant woman; Maggie, a herbalist performed by Jacinta Whyte; and Nell, depicted by Allyson Ava-Brown, who serves as Frances’s midwife. The plot begins to unfold with the arrival of Jenet, played by Gabrielle Brooks, who is notorious for testifying against her family in her youth and finds herself accused of witchcraft.
A Complex Storyline with Missed Opportunities
While the musical sets the stage for several powerful themes, including the coercion of children and the targeting of vulnerable women, it often struggles to evoke the necessary emotional impact. The tone, which leans towards the comic, alongside cartoonish character portrayals, results in a production that feels more akin to a parody than a serious examination of such a tragic historical episode. Critics have noted that the show resembles the irreverent style of the comedy series Blackadder, which detracts from the gravity of the subject matter.
Directed by Miranda Cromwell, Coven features a strong onstage band and impressive vocal performances. However, the narrative’s sprawling nature, coupled with simplistic messaging in the lyrics and book, fails to deliver a cohesive experience. Initially, the production appears to dive deep into each woman’s individual story, but it soon loses focus, veering into various subplots that dilute its impact.
Innovative Yet Disjointed Presentation
One notable moment includes a surreal depiction of Jenet’s childhood, featuring a puppet that represents her younger self. This inventive approach provides an intriguing glimpse into her psyche but is followed by a series of increasingly disjointed scenes. From Maggie’s childbirth sung to the theme of Mother Earth to a comedic portrayal of historical misogyny, the transitions feel haphazard and jarring.
As the performance progresses, the pacing becomes less dynamic, transitioning from one ballad to the next without sufficient narrative development. Although the ideas presented are rich and varied, their execution results in a theatrical experience that lacks clarity. Rather than a seamless blend of music and drama, the production offers a disorganized assortment of concepts that never truly coalesce.
Coven is currently showing at the Kiln Theatre in London, with performances scheduled until January 17, 2024. While it seeks to shine a light on a dark chapter of history, the production ultimately misses the mark in delivering a compelling and emotionally resonant story.
