The musical “Coven,” created by Rebecca Brewer and Daisy Chute, aims to transform the narratives surrounding the women accused during the Pendle witch trials of the 17th century. Set in a prison, the story focuses on a group of Lancashire women who face dire fates as they confront the injustices of their time. The production is currently showing at the Kiln Theatre in London and will run until January 17, 2024.
The narrative follows several characters, including the church-going Frances, portrayed by Shiloh Coke, whose husband has accused her after she has suffered the loss of a child. Another key figure is the heavily pregnant Rose, played by Lauryn Redding, along with Maggie, a herbalist played by Jacinta Whyte, and Nell, a midwife or maid to Frances, enacted by Allyson Ava-Brown. The story is set in motion by the arrival of Jenet, played by Gabrielle Brooks, who is infamous for testifying against her own family as a child and now faces similar accusations.
Exploring Themes of Coercion and Misogyny
The musical attempts to delve into various significant themes, such as the coercion of children and the systemic targeting of impoverished women. There are moments that hint at the potential for a powerful narrative; however, the execution often falls short. The comedic tone and exaggerated portrayals lend a cartoonish quality to the performance, reminiscent of a Blackadder episode, which detracts from the gravity of the subject matter.
Directed by Miranda Cromwell, the production features a lively onstage band and showcases strong vocal performances. Yet, the overall effect is described as “off-key.” The plot tends to sprawl in various directions, often leading to simplistic and overtly empowering messages. While the ensemble cast initially provides a glimpse into the lives of the women, the focus eventually shifts to Jenet’s psychodrama, presented in an unusual manner that includes her childhood self depicted by a puppet.
A Mixed Reception of Ideas and Execution
As the narrative unfolds, it encounters a series of disjointed scenes that include Maggie’s childbirth, during which the cast sings about Mother Earth, and a comedic portrayal of historical misogynists who contributed to the witch trials. The appearance of King James I, donned in a ruff collar, to endorse the witch hunts adds another layer of absurdity to the production. With an abundance of ideas, the execution becomes muddled, leading to a lack of coherence in the storytelling.
While “Coven” does explore important themes, the haphazardness of the plot and the reliance on musical ballads can make the experience feel tedious. The production shows promise but ultimately struggles to balance its ambitious narrative with the need for emotional depth. Audiences may find themselves captivated by the musical’s energy, yet questioning whether it fully captures the horror and significance of the historical events it seeks to portray.
