It can certainly be said that Roald Dahl’s stories have been catapulted back into the mainstream in recent years. The Royal Shakespeare Company’s Matilda wowed audiences as a piece of theatre, and it has also recently been made into a film for Netflix.
Dahl’s current dominance as a storyteller was particularly palpable on the final Tuesday evening of November: the premiere of the new Wonka film – inspired by Charlie and the Chocolate Factory – was taking place at the Royal Festival Hall, a stone’s throw away from the National Theatre on London’s Southbank where a new musical adaptation his 1983 novel The Witches electrified the audience.
At the heart of this narrative is 10-year-old Luke, who, at the start of the story, is quickly introduced to his (slightly eccentric) Norwegian grandma following a family tragedy. Gran has some interesting lessons for Luke from the get-go; firstly, beware of the witches that pervade society as apparently harmless women.
Luke and Gran’s adventures navigate ill-health, a holiday to Bournemouth, and lots of interactions with strange creatures that have been mixed up in the witchy underworld of England. It is safe to say that this show dazzled from start to finish. Lucy Kirkwood’s fresh take on Dahl’s story remained largely faithful to the original, but a few tweaks helped to add depth to the backstories of certain characters.
It was Dave Malloy’s music and lyrics that really brought The Witches to life, though. The opening number deftly played on tropes of modern womanhood to reveal – by moving between sweet sing-song and ritualistic, wicked chanting – how witches hide in plain sight.
The Grand High Witch’s boudoir scene was expertly brought to life through a song that imagined a blissful, child-free life; Katherine Kingsley embodied the role of Grand High Witch wonderfully.
The stage was set for The Witches
KATIE BOWEN
What especially shone through in this production was the strength of individual actors who ultimately teamed together for an evening of joy. Many audience members will recognise Mr Stringer – the manager of the Hotel Magnificent – as Daniel Rigby, star of David Walliams’ hit BBC sitcom Big School.
This was perfect casting for The Witches; Rigby brought a fantastic goofiness to the role of Mr Stringer, smoothly switching from a composed, professional leader to an anxious, ruffled mice-catcher.
Sally Ann Triplett, as Gran, is also a star of stage and screen, most notably playing Donna in Mamma Mia on the West End. Again, Triplett was brilliant and captured the real warmth and heart of Dahl’s story.
But perhaps the real star of the show was young William Skinner who played the 10-year-old Bruno Jenkins, another boy who falls victim to the scheming witches due to his predilection for sweet treats, something in direct defiance to his mother’s healthy culinary offerings (‘hummus and celery sticks’).
The talent of Skinner was so spectacular as to almost be frightening. He commanded the stage with so much skill and humour, effortlessly moving from a glorious tap dance routine – complete with a stunning singing voice – to schmoozing the ladies and delivering some hilarious one liners.
Amongst all of the very well-seasoned, experienced actors on stage, it was Skinner’s performance that was a real highlight throughout The Witches.
Aside from characterisation, the colour palette of Lizzie Clachlan’s set was something to behold. It was a visual treat of pastel delight. The Hotel Magnificent was especially impressive, bedecked in beautiful pinks and accented by berry tones; the gorgeously plush furniture also contributed to the overall luxury of the hotel.
Clachlan’s use of the turning stage was effective in utilising space. We moved swiftly from the prim and proper hotel restaurant to the dirty, grimy kitchen which allowed Chef Chevalier (played by Irvine Iqbal) to create a very amusing moment. Bruno Poet’s lighting design also deserves a mention here. It was in perfect harmony with the colours on stage but at the same time tapped into the stereotypical witchy colours of green and purple.
The Witches is playing at the National Theatre
KATIE BOWEN
Lighting was also important in a couple of moments in the show when the audience was brought into the playing space. The lights went up in the auditorium when the witches on stage warned that any woman could be a secret witch – thus casting the net of suspicion even wider – and also when an apparent audience member’s phone started playing ‘Baby Shark’.
These little references to the spectators added a pantomime-esque feel to the experience, perfect for this time of year.
Forget the usual festive plays on offer in London, or indeed elsewhere in the country: complete with novelty nods to pop culture (have you ever seen a group of witches taking selfies with their idol?), a stunning score, and rip-roaring humour, The Witches at the National Theatre is a lively take on one of Roald Dahl’s best books, and is the star on top of the Christmas theatre tree for 2023.
The Witches plays at the National Theatre until 27 January 2024. Get tickets here: https://www.nationaltheatre.org.uk/productions/the…
