★★★★
An enchanting exploration of femininity & womanhood in a patriarchal society determined to suppress it, yet shining brightly in this incredible piece.
Entering to harmonious shanty-like tones of the cast, evoking a siren-like atmosphere throughout the theatre, little was I to know how striking the next hour would turn out to be. Yet, Witches Corner is a surprisingly relevant & captivating exploration of womanhood in the time of 'witches', & the misogynistic undercurrents that continue to perpetuate themselves even today.
Paced & structured well to give each moment space to develop, yet still covering an impressive medley of moments, Eilidh Smith’s writing is a breath of fresh air that effortlessly transports audiences through time with a skill & grace akin to one of the great playwrights. Despite little-to-no set or context clues for audiences to infer from, their weaving of exposition, comedy, story & character development into a succinct script is a standout amongst this year’s Fringe originals.
The orchestrations & lyrics adorning this production are equally impressive. Composer Rona Johnston, now in her third year at the festival, continues to please, with a musical undercurrent that heightens the on-stage performances incredibly well. Musical numbers are interspersed well, are both context-relevant & catchy, & have left me with several refrains stuck in my mind ever since (an issue which may only be remedied by a forthcoming cast recording, should I be so lucky)! The blending of actors & actor musicians is a great stylistic choice, creating a unique dynamic as the cast flow around each other in song, dance & dialogue.
On-stage performances by the entire company are commendable, with a notable highlight from Alannah Skellett. Skellett’s domineering presence as the imposing Father casts a long shadow over their scenes, their piercing eyes betraying the darkness within as they shoot across the audience in moments that gave me physical chills, a testament to their abilities as an actor.
But most crucially of all, it is the ability of this show, set largely over 300 years ago, to be as relevant today as one set in 2026, that makes this a jewel in the 2026 Fringe crown. The final act of the show, weaving these seemingly ill-connected periods together is one of the most sobering & whiplash-inducing pieces of theatre I have ever seen, in the very best way. Many productions, both at Fringe & elsewhere, take on the challenge of exploring womanhood, our place in the world & the forces working against our liberties, but few can execute it so profoundly & so unexpectedly as to trigger visceral reactions throughout an audience so consistently.
Witches Corner is a history show for those who don’t conventionally like history; a musical for those who don’t conventionally like musicals; & a piece of theatre for those who don’t conventionally like theatre. A tragic portrayal of what our female ancestors endured at the hands of the men who domineered & shaped the world for themselves, it is a groundbreaking new production that will endure for generations to come.