Wini Froelich and Nick Ericksen Photo by Amy Rummenie

Witch, first produced in 2018, is an intriguing, darkly comedic play loosely based on a Jacobean play written in 1621. The plot centers on a devil visiting a small village to grant wishes in response for their souls. The play raises challenging questions about power and gender dynamics set in approximately the 1600s with costumes of that era, while spoken with naturalistic contemporary dialogue that provides much of the humor. In their director's notes, Braudt and Rummenie address the "sense of anger and urgency that powers this piece," and it is a deep societal anger voiced by the titular character, accused witch Elizabeth (Wini Froelich), at the very beginning of the play when she states, "I'm not arguing for the end of the world but then again maybe I am."

Scenic design by Alice Endo smartly uses the small space well at Open Eye, allowing for deepening of the stage when we enter the dining room of nobleman, Sir Arthur Banks (Peter Colburn), as well as descension to hell for the devil Scratch (Nick Ericksen). Elizabeth's hut downstage contains a stump and branches evocatively portraying her poverty and connection to nature, with shelves full of any number of clay pots and jars one imagines filled with foraged herbs and spices. Lighting design by Tony Stoeri deftly and distinctly lights each area of the stage, and A. Emily Heaney's costumes convey the period regalness of Sir Arthur, his son Cuddy (Samuel Osborne-Huerta), and foster son Frank Thorney (Jake Sung-Guk Sullivan), and the contrasting working class/poverty attire of Elizabeth and Winnifred (Caiti Fallon).

As Scratch, Ericksen is in a period entirely of his own, decked out in leather pants, spectator shoes and a feather in his black fedora. The costume suits Ericksen's portrayal of a devil who has tried a number of personas in his hundreds of years and settled on that of a young man. Froelich and Fallon's anger in their wronged-woman roles of Elizabeth and Winnifred is visceral and recognizable, often comedic in its very realness. Sung-Guk Sullivan and Osborne-Huerta are perfectly cast as foils, with Sung-Guk Sullivan as the man's man who takes up space and Osborne-Huerta as the Morris Dancer who is just a little too effeminate to meet his father's needs for an heir. Colburn creates a sympathetic portrayal of a man who is a product of his time; he misses his strong wife but fails to recognize the strength of those he deems below him.

I highly recommend this production due to the witty dialogue, stellar production values, and timely themes. It's a fitting companion to two other productions in town right now, Brave New Workshop's The World Is Burning So I Made Smores and Night Fire Theatre's The Crucible.

Witch, presented by Walking Shadow Theatre Company, runs through April 13, 2025, at Open Eye Theatre, 506 E 24th St, Minneapolis MN. For tickets and information, please visit www.walkingshadow.org.