24 – 25 May
While I generally shy away from magic tricks, finding them a bit cringe-worthy, my strong affinity for witches drew me to Hags: A Magical Extravaganza at the Tobacco Factory Theatre. Directed by Scratchworks Theatre Company this production offers a compelling blend of historical reflection and contemporary flair, tackling the 17th-century witch trials of Bideford with humour, live music, audience participation and, yes, even those magic tricks…
The ensemble, Siân Keen, Laura Doble, and Alice Higginson-Clarke (women who, if alive during the witch trials might have been condemned as witches themselves, which I suppose is the point…) bring vibrant life to their multiple roles, each delivering nuanced performances. Keen’s portrayal of the non-verbal Mary Trembles artfully exercises silent expressions as a powerful counter to the chaos around her. Doble shines as Susannah Edwards, a downtrodden baker caught up in the hysteria, while Higginson-Clarke’s Temperance Lloyd — a stern yet vulnerable healer — commands the stage with gravitas. These outcasts, vilified for their independence, infertility, or societal non-conformity, navigate the pitfalls of being an ‘other’ in a man’s world, asking the poignant question: what truly defines a hag?
Andrew Armfield dazzles as the multi-talented backing singer/fan boy/hype man/musician all wrapped up in a sequin jacket. Armfield adds a modern twist with his synth-infused beats, acting as a grounding force with his factual bell dings to remind the audience of the play’s roots in historical truth. The production is massively enhanced by the electric pop soundtrack, with stunning and disarming numbers like Call for the Doctor and Odes to Hatred imbuing the historical narrative with a fresh and compelling energy.
The set, minimal yet transformative, switches seamlessly between the shadowy alleys of Bideford and the stark confines of a jail cell. The sparkling boxes on stage mimic a game show setting, mocking the absurd pageantry of the witch trials and highlighting the superficial judgments that led to real-world tragedies, whilst simultaneously critiquing the trivialization of women’s suffering under the guise of public spectacle.
One of the most visually striking moments of the show is the ‘chicken massacre,’ where a deftly manoeuvred fox puppet orchestrates a dramatic scene of feathers, balloons and death. This spectacle of physical comedy and puppetry is both a highlight and a representation of the show’s creative depth.
While the script ambitiously navigates between humour and historical commentary, it occasionally loses pace in the first act with extended scenes that could be tightened. However, the second act recovers momentum brilliantly, cleverly mirroring today’s media spectacle through its portrayal of the trials as a game show, sharpening the satirical critique of historical and contemporary witch hunts.
Ultimately, Hags: A Magical Extravaganza invites its audience to engage deeply with themes of gender, power, and persecution, using every theatrical tool from lighting to sound design to provoke thought and emotion. I will always love witches and while Hags might not have converted me into a fan of magic tricks, the play skillfully uses them as metaphors, revealing how the illusions of the past continue to shape our present realities.
★★★☆☆ Tilly Marshall, 25 May 2024
