Witch, Boston College Contemporary Theatre’s latest production, asks the audience to consider the importance of choice while exploring contemporary social issues such as class, homophobia, and women’s rights—all in a medieval setting.
The performance, which premiered on April 12 in the Bonn Studio Theater, was directed by Ava Maloco, LSEHD ’26.
The play opens with a monologue from Elizabeth Sawyer (Abby McNeil, MCAS ’28), a single woman ostracized from her community because she is believed to be a witch. The play was loosely based on the real Sawyer, who was executed for witchcraft in 15th-century England.
The devil, Scratch (Alessandro Cella, MCAS ’26), tries to convince Sawyer to sell her soul to him in return for societal acceptance. To his surprise, she refuses. Despite Scratch’s convincing, she remains independent and stuck in her ways.
Scratch approaches other characters, such as Cuddy Banks (Jackson Rowley, MCAS ’27), who is eager to sell his soul because he wants the devil to kill Frank Thorney (Makana Jorgensen, LSEHD ’26). Thorney also gives in to the devil, selling his soul to gain more power.
The rivalry between Cuddy and Thorney is prevalent throughout the performance as they compete for the respect of Sir Arthur Banks (Declan Fahey, MCAS ’28), Cuddy’s father. Sir Arthur loves Thorney like a son, but only one can be the heir to his throne.
Thorney and Cuddy depict two kinds of ambition in the play. Cuddy is Sir Arthur’s son and believes he should be the rightful heir to the throne, but struggles with his identity, sexuality, and feelings for Thorney, yearning for more in his life.
Thorney’s ambition is more toxic, as he is determined to do anything to get to the throne and the power it holds. He is even willing to cast aside his lover, Winnifred (Cecilia Lee, LSEHD ’26), who is pregnant with his child, because he believes she will get in the way of his quest for the throne due to her low class.
While set in medieval times, the play draws on modern aspects, using slang and having a humorous stage fight between Cuddy and Thorney. This scene appeals to a contemporary audience with effective humor, giving it a modern and light-hearted feel.
Scratch’s character initially has a humorous presence on stage, which contrasts well with his wickedness. By the end of the play, however, we see a much deeper and more emotionally vulnerable side of Scratch. Cella does an excellent job portraying Scratch, and his dramatic performance received an intense emotional reaction from the audience.
The tension between Sawyer and Scratch, as well as Cuddy and Thorney, is done effortlessly in a way that transfixes the audience within the scene. Cuddy and Thorney come from very different backgrounds, putting different social issues on display. Thorney came from intense poverty and sought nobility to prove his success. Cuddy, meanwhile, argues that while he grew up privileged, he still faces very real issues due to his homosexuality.
Witch does a wonderful job incorporating humorous elements and serious issues to keep the audience engaged—a hard line to walk, but Contemporary Theatre seems to do it with ease.
