In 'Witch' at Geffen Playhouse, Jen Silverman's delightful dialogue turns a Jacobean story into a distinctly modern tale of the misunderstood woman.
In “Witch,” Jen Silverman’s delightful recasting of the obscure 1621 tragicomedy “The Witch of Edmonton,” characters find themselves in Jacobean dress and Jacobean circumstances, but they speak like Americans today. Nary a “prithee” or “forsooth” to be heard.“This is all cone of silence,” another warns, before revealing a secret.
Meanwhile, the devil is making the rounds in the neighborhood, trading hearts’ desires for souls. As played by the magnetic Evan Jonigkeit, he’s a fast-rising junior salesman, polite, a good listener, deeply attuned to human psychology. Most insidiously of all, he believes in what he’s doing. To Cuddy’s horror, Sir Arthur has transferred his paternal hopes to a peasant, Frank Thorney , whom he has welcomed into his castle and given a fine horse, and for whom he is arranging a marriage. The hitch in this plan: Frank already is secretly married to the servant Winnifred .Buying their souls proves child’s play for the devil, but oddly, he doesn’t fare as well with outcast Elizabeth, who on paper has much incentive to change her destiny.
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