“I just find it so hard to have hope”

What does it say about about me when my inner-most thoughts are being echoed by the devil? When a character initially full of hope succumbs to the harsh reality which surrounds him? Jen Silverman’s Witch, deftly directed by Courtney Ch’ng Lancaster, focuses on such questions: questions of life, hope, legacy, and more. Though, like life itself, it provides few cut and dry answers. Featuring a stellar cast helmed by the inimitable Tantoo Cardinal, Witch uses a story from 1621 to explore today’s society in a funny and unique way.

The devil, let’s call him Scratch, has come to Edmonton (not Alberta), and he’s wheeling and dealing with the nobility. Easily swaying young Cuddy Banks and his rival Frank Thorney, he sets his sights on the local witch, Elizabeth Sawyer. However, instead of finding a willing participant, he finds a strength and resilience he can’t help but admire. Meanwhile, in the castle of Sir Arthur Banks, Cuddy’s father, issues of heirs and endowment are thrown into question as Frank’s close relationship with Sir Arthur is becoming quite the thorn in Cuddy’s side. But in a world where everyone is hiding something, love, desire for power, or grief, what will it take for those secrets to come to light? And when they do, what kind of havoc will they cause?

Witch walks in two worlds; with modern text but Jacobean costuming, it is of this time and not all at once – a conundrum in and of itself. Yet this is also a pointed reminder of how little things have changed. These characters are speaking their truth for their time while also speaking directly to us now. For example, Cuddy’s insistence that Morris dancing is not just his hobby, but his life’s work is the same protestations anyone who has ever wanted to work in the arts made to their families. Though the modern slang is initially jarring, we easily settle into it as the play progresses, and it makes for moments of levity to hear someone from the 17^th Century saying things like “keeping it on the dl” as casually (or at least as casually as Cuddy is capable of being) as one would today.

As Silverman’s text takes place between two worlds, Nick Blais’ masterfully designed set does as well. One end of the room is fashioned to be the castle, with velvet curtains, a lofty throne and an ornamental urn which is used in less appropriate ways than I had imagined by Sir Arthur. At the other end of the stage is Elizabeth’s hut; on the outskirts of society, it’s symbolized by ropes, furs, and plants, things of nature but also things of magic. In the middle is a large pit around which the characters cook, and dance. Along with Ting – Huan 挺歡 Christine Urquhart’s aforementioned period costumes and Jareth Li’s vibrant lighting design, Witch speaks to us through every element of its production.

Tantoo Cardinal gives an astounding performance as Elizabeth Sawyer; every phrase she utters feels deliberate and demands your attention, and yet her candour in the opening scene immediately put me at ease. Nicholas Eddie’s Scratch is larger than life, and I was so happy that they used Eddie’s height for an exceptionally well-timed sight gag in the second scene of the play. You can feel the emotional transformation of Scratch as its happening, and there’s a palpable electricity between Eddie and Cardinal. Oliver Dennis gives an emotionally charged edge to Sir Arthur, and the swings from gleeful to woeful broke my heart. Heeyun Park 박희윤 not only gets to highlight her impeccable comedic timing, but also her soaring voice as Winifred. Shawn Ahmed’s Frank is a delightfully nuanced villain who we love to hate, and Ahmed plays him with all of the swagger and bravado we’d expect. Thomas Mitchell Barnet gives a stand-out performance as Cuddy; soft and kind, while also repressing all of his angry feelings, Barney makes the most of his time with Cuddy, and somehow I found myself cheering for him throughout the play.

Witch leaves us with plenty of questions, and not a whole lot of answers, and I love that. It reminds me of the conversations I have late at night with my fiancé as we talk about our worries and hopes for the world at large. Like Scratch, he often is able to see the silver lining and is able to find hope all around. And like Elizabeth, I have at times argued that we need to burn it all down. Who’s right? Could be both of us or neither of us. Witch compels us to find our own answers to these questions within ourselves; a bold ask and yet one which needs to be asked, particularly in our current climate. However, I firmly believe that Scratch’s idea of finding joy in the little things in life is the only way for us to keep going. As long as we continue to spread that joy, through our art (like this show, or Morris dancing), our conversations, and most importantly our love for one another, that’s how we can make the world a better place.

Witch runs in the Michael Young Theatre at the Young Centre for the Performing Arts until March 1. For more tickets and information, visit: https://www.soulpepper.ca/performances/witch

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Cover Photo: Pictured: Tantoo Cardinal, Nicholas Eddie in WITCH by Jen Silverman, Directed by Courtney Ch’ng Lancaster, (2025). Set Design by Nick Blais, Costume Design by Ting-Huan 挺歡 Christine Urquhart, Lighting Design by Jareth Li, Sound Design by Olivia Wheeler. Photo by Dahlia Katz.

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