A new musical attempting to resurrect the voices of the Pendle witch trials has opened in London to mixed reception. Coven, playing at the Kiln theatre until 17 January, seeks to transform historical footnotes into fully-realised characters but struggles to find its dramatic footing.
Ambitious Premise Meets Execution Problems
Created by Rebecca Brewer and Daisy Chute, the production aims to give voice to the Lancashire women accused of witchcraft in the 17th century. The musical follows a group of women awaiting their fate behind bars, including Frances (Shiloh Coke), a church-going woman whose husband accuses her after child loss; heavily pregnant Rose (Lauryn Redding); Maggie (Jacinta Whyte), who creates herbal medicines; and Nell (Allyson Ava-Brown), who works as either a midwife or maid.
The drama intensifies with the arrival of Jenet (Gabrielle Brooks), famously known for testifying against her own family for witchcraft as a child, who now finds herself facing the same accusations.
Powerful Themes Undermined by Tone
The production contains numerous potentially compelling narrative threads, from the coercion of children into giving testimony to the systematic targeting of society's most vulnerable women. However, these serious themes compete with what many are describing as a glib, cartoonish approach that evokes comparisons to Blackadder rather than the gravity the subject matter deserves.
Despite strong vocal performances from the cast and capable musical accompaniment from the onstage band, the production directed by Miranda Cromwell feels relentlessly off-key according to critics. The actors themselves escape blame for the production's shortcomings, with particular praise for Gabrielle Brooks' portrayal of Jenet's psychodrama, which features a puppet representing her childhood self.
Structural Issues and Narrative Overload
The plot sprawls in multiple directions without finding consistent focus. After establishing itself as an ensemble piece exploring each woman's story, it shifts abruptly to Jenet's psychological journey, then swings to broadly comic portrayals of historical misogynists, including an appearance by King James I in a ruff collar endorsing the witch-hunts.
The drama becomes increasingly static as it moves from one ballad to another, with the book and lyrics delivering simplistic messages about empowerment and historical revisionism. The production attempts to cover too much ground, turning what might have been inspired gig-theatre into what one critic described as a strange soup of competing ideas.
Despite its noble intentions of honouring the memory of the Pendle witch trial victims, Coven ultimately fails to do these historical figures justice, according to the prevailing critical consensus. The musical continues its run at Kiln theatre in London until 17 January.
