There’s huge potential for Barry Reckord’s play White Witch. He’s a celebrated Jamaican
author, and the piece returns to the London stage after a profitable run on the
Chelsea Theatre in 2015. The story in itself additionally catches my consideration – “primarily based
on a real story, set round Rose Corridor [….] White Witch is a story of mysticism,
love, cruelty and revenge, forged towards the Atlantic slave commerce.” Palmer (a
slave proprietor performed by Robert Maskell) brings his new spouse Annie (Georgina
Baillie) again to his plantation in Jamaica. Rumours of magic and witchcraft
swirl round Annie, who finds no pleasure in sleeping together with her husband and
as an alternative seeks it with the slaves who run his family. The premise units up White Witch fantastically – and but,
sadly, my viewing of it leaves a lot to be desired.
To get the extra technical factors out of the best way first, I discover the lots of the actors’ projection poor. Regardless that I’m sat comparatively close to the stage, I can barely hear Baillie’s voice, and the continual shouting of Maskell’s character signifies that his phrases slur collectively and I generally really am undecided what he’s saying. So as to add to this, although Baillie’s character Annie is the primary protagonist, her performing is kind of wood. She employs a restricted vary of feelings and tones, and thus I discover it exhausting to remain engaged when she speaks. This lies in direct distinction with the superb Natasha Springer, who performs a maid referred to as Chloe – she has unbelievable highs and lows, and soars from restrained to scenes of utter delirium, dancing and screaming across the set. Sadly for Baillie, Springer’s excellence as one of many extra minor characters solely serves to undercut her efficiency because the protagonist.
The manufacturing and staging can be disappointing. Typically the
scenes are chaotic and messy, with characters slamming in and outdoor at
random. Some scenes finish too abruptly and I’m left questioning what has simply
occurred. By the tip of the play, I really feel genuinely misplaced – not solely as a result of the
plot strikes too rapidly (by some means alongside dragging dialogue), but additionally as a result of
lots of the actors converse so rapidly I can’t perceive. The ultimate revelation
of the play, which I believe is meant to be an thrilling twist, means nothing
to me, as I actually have no idea what is occurring and don’t really feel invested in any
of the characters onstage.
I perceive I’ve been harsh on White Witch, however I believe this stems from my disappointment at
missed potential.There are
fascinating themes right here surrounding related matters akin to abortion and race,
and there are a lot of vibrant moments the place I chuckle and gasp due to the performing
of Springer, Okon Jones, Judith Jacob, Charles Tomlin and Nathan Thomas. I solely
want these actors and their characters had extra time to shine. For me, having
the plotline centred round Palmer’s spouse Annie, the white witch (Baillie),
signifies that the storylines of the marginalised are undersold. I need to know
extra in regards to the slaves on this play, I need to hear extra about their factors of
view. As an alternative, we get too many dialogues from Baillie, which I can’t actually
hear, and which additionally generally creep dangerously right into a story of white saviour
complicated.
White Witch has the roots of an vital play: its themes of abortion and race within the 18th century change into extra related by the day; some elements of the plot shine; and several other actors are great. Nevertheless, in its execution, it actually misses the mark.
White Witch is taking part in the Bloomsbury Theatre till 18 September 2021. For extra data and tickets, see the UCL Tradition web site.
