Sean Burnett Dugdale-Martin
The Coven on Grey Street is a comedic riff on everyone’s favourite witches, written by James Cain (Movers) and directed by Harriet Prebble (Dungeoning & Dragoning). Join Irene Wood’s Sybil, Helen Moulder’s Daphne, Hilary Norris’ Fay and Peter Hambleton’s Groom and Lecturer Ted in this delightful romp about sorcery and sisterhood. Produced by Red Scare Theatre Company, this ensemble comedy is an impressive and fun production. Photo credit belongs to Roc+ Photography.
Entering into Circa 2, I am astounded by how much set they have managed to build into such an inhospitably sized theatre space. Set designer Lucas Neal has created a compact, dynamic set which never feels cluttered or seems to trap anyone in. There is a classic townhouse to the left, a white-picket fence on the right, and a huge, intricate pohutukawa tree in the middle with branches splaying forward over a table and chairs.
There are many reasons why this show is great. I love it. These reviews are tough, in a way, because I really have nothing constructive to say, which is generally my reason for reviewing. Ah welp! Neal’s set, lighting by Isadora Lao, and sound design elements by Patrick Barnes Sound design (both opperated by Xanthe Curtain) are expertly crafted. Both the lighting and sound are used minimally throughout the performance until the end of each act, adding to the world and not distracting from it, giving it real impact when they really kick in. The characters truly inhabit the world they were in, and props must be given to the performers working in such a populated space and not having it ever feel in-the-way or disjointed.
There are many reasons why this show is great. I love it. These reviews are tough, in a way, because I really have nothing constructive to say, which is generally my reason for reviewing. Ah welp! Neal’s set, lighting by Isadora Lao, and sound design elements by Patrick Barnes Sound design (both opperated by Xanthe Curtain) are expertly crafted. Both the lighting and sound are used minimally throughout the performance until the end of each act, adding to the world and not distracting from it, giving it real impact when they really kick in. The characters truly inhabit the world they were in, and props must be given to the performers working in such a populated space and not having it ever feel in-the-way or disjointed.
The show is about chosen family, the risks involved in bringing someone new into the fold, and the complex navigation of loving someone, having to trust them but having natural apprehension to who they want to include into the chosen family. Cain has written three elderly, female characters but is neither of those things. If someone writing about experiences or perspectives that they have not lived is a hard-line for you, you may have to put that aside if you want to see the show. I hasten to add that the characters are millenia old witches and it is hard to find anyone in Wellington with that lived experience. The show isn’t about the experiences of older women though, Cain’s script focuses on fun and family which constantly pays off. Each character is given comedy and depth. It’s refreshing seeing people who aren’t in their 20s to 30s being given an awesome chance to shine. Character roles that aren’t just mother, grandmother, father, or whatever. Wood, Moulder, and Norris are a great ensemble and bounce off each other effortlessly. They are a delight to watch! At times it is easy for Hambleton to steal moments because his character is much more bouncy and energetic than the Weird Sisters but the three always find a way to take back the energy. Props to Prebbles’ direction with the flow of each scene.
The show is 90 minutes with an interval but it flies by. It’s not a particularly challenging show so don’t expect to leave with any life-changing philosophies, but it’s not trying to be. It’s just a really fun, impressive show, and I would highly encourage anyone to go between now and the 27th May at Circa Theatre.