The Witches of Eastwick is an innovative, amusing and refreshing adaptation of a successful novel and film into a vibrant musical. It follows three women living in the oppressive American town of Eastwick in the 1950s, who inadvertently conjure up the devil as an answer to their relationship troubles. Despite his initially seductive charms, he soon brings the entire town into disarray: with disastrous consequences.
The Lyceum Theatre was packed out, predominately with women, for the first night in Sheffield, largely due to the perfect casting of Marti Pellow as the delectable yet evil Darryl Van Horne. His entrance itself caused a stir as he ran out from the back of the stalls, cheekily slapping audience members around the head as he leapt towards the stage.
He used his enigmatic and devilish charms to captivate and possess the other characters (and many members of the audience) to sometimes tragic, but predominately comical effect.
The production’s greatest strength was this comic value as the audience frequently erupted into fits of laughter, primarily resulting from Pellow’s flirtatious and provocative devil gyrating to the music. However, the entire cast were extremely impressive, in particular the three ‘witches’ whose comic timing and vocal ranges were impeccable.
The entire cast had ample opportunity to display their theatrical talents in the variety of numbers, ranging from poignant solos to the ensemble dance routines. The special effects overcame the limitations of the stage; there were explosions, thunderstorms and even a chance for the devil to allow the three ‘witches’ to take flight.
The Witches of Eastwick dared to push boundaries, though its sexual aspects were used principally for humorous effect. There was an abundance of innuendo: from provocative movements and endless motifs down to the blunt phallic symbol gracing Van Horne’s front door.
However, this was done comically and tastefully and was completely relevant to the plot, making the seduction scenes appropriately entertaining rather than lewd.
The ‘witches’ are comfortable juxtapositions of strength and vulnerability, perhaps providing an explanation as to why they are happy to share the same man.
Whilst this strange acceptance may be irritating to some audience members, it certainly did not hinder their friendship which, from their introduction, we saw to be strong and realistic. This, alongside the presence of Pellow, perhaps makes this production particularly directed at women. This said, I would advocate that everyone take the opportunity to see this touring production and enjoy this devilish, daring and delightful music