
Coven seeks to transform the seventeenth-century obsession with witches into a musical in the spirit of Six. The historical horror becomes an anachronistic retelling inspired by the Pendle Witch Trials and by the idea that Jenet Device, a child witness in the 1612 trials, later became a victim of the dark arts hysteria in 1633. In the first act, Jenet is imprisoned with several women accused of witchcraft although their 'crimes' really consist of practicing natural healing, assisting in childbirth, or offending powerful men. All are victims of a repressive patriarchy, an authoritarian church, and a deeply corrupt legal system. However, the portrayal of these women and their stories feels heavy-handed, and by the end of Act I the central narrative and main character remain uncertain. Only in the second act, through a flashback that explores Jenet’s psyche, do we learn her history and recognise her as the true protagonist. The scattered plot threads from the first act then begin to converge. However, somewhat confusingly, Act II opens with a brief visit to 1486 and the publication of the Malleus Maleficarum. This lively production number might have served better to set the scene at the start of the show, but current theatrical fashion favours the non-linear manner of storytelling. Throughout, the acting style is broad, matching the show’s rather plodding parody and evoking the spirit of pantomime. Gabrielle Brooks, as Jenet, delivers outstanding vocals, and her solos provide the production’s strongest moments. The final song, “Rematriation,” serves as an anthem expressing the creators’ aim to reclaim and restore the reputations of these persecuted women in the historical record. Unfortunately, that worthy intention too often comes across as a didactic abstraction. The characters remain symbolic figures rather than very engaging human beings, and ultimately Coven feels like a musical history lesson.
Rated: ★★
Reviewed by J.C.
Photo by Marc Brenner
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