The Witching Hour

July 16, 2024

15th – 20th July 2024

A glossy programme depicting a burning witch, a noose and haunted house bore the legend: She Died. Her Curse Lives On.

Two faceless figures top to toe in black, monks’ cowls over their bowed heads, stand motionless at the curtained entrance to the darkened auditorium of the Bridewell Theatre.

Statues? Mannequins? Humans? I look down to their bare feet. Real, for sure. Silent. Menacing. It was the most scared I felt for the entire performance of The Witching Hour, a story of witchcraft in a modern setting.

This ghost story promised so much more than it actually delivered. Strobe lighting, blood-curdling screams, thundering sound effects and atmospheric music worthy of a Hitchcock thriller movie kept the audience in a heightened state of anticipation. A deafening fire alarm earned a few gasps.

“…a burning witch, a noose and haunted house bore the legend: She Died. Her Curse Lives On”

But the plot and direction failed to really engage on any deeper level. We so wanted to be frightened. But there were few sweaty palms despite the theme of England’s notorious 17th century Witch Trials, torture, curses, superstition, sexual assault and abortion.

A suitably spooky set offered a haunted house, once the home of teenage Elspeth Langford (played by Eleanor May Langford). Blonde, pale and fragile, she is a great screamer as the victim of a married clergyman Rev. Woods (Mark Kitto), who shamelessly seduces her then accuses her of witchcraft to preserve his reputation. As is the custom ‘justice’ could be meted out by the clergy and aristocracy. Justice that involved pricking, branding, binding and ducking. And drowning.

The now abandoned house, which still holds terror for the locals whose ancestors blamed Elspeth for the deaths of their livestock and children, is now the focus of an academic investigation by psychologist Erin Bailey (Jessica Porter). Helping her research is Professor Dubois (also played by Mark Kitto). And keeping her company in the creepy forest is her brother Sam (Saul Bache).

Intense. A bit jumpy. Engrossing. It would take a lot more to scare me.

These were some of the post performance comments after a couple of hours of drama. There were a few nervous giggles at the end. But with a promise of gasps-out-loud chill, thrill and terror I expected my heart to be pounding. I experienced only a raised eyebrow rather than a raised pulse rate.

The production — which aptly finishes its nationwide tour with its London finale at a theatre just a witches’ curse away from the Old Bailey — carries a warning that it ‘contains moments of extreme shock and tension and is recommended for those aged 14+’.

The jury is out on that one.

Creator and Director James Williams promises: ‘The play creates a world of eerie forests, dark tunnels and nail-biting jumps. Our intention with The Witching Hour is to bring a horror movie experience to the stage.’

Despite quality acting The Witching Hour falls short – and the ultimate baddie is as threatening as an avuncular Alan Bennett.

Director James Williams
Set & Lighting Design Alex Johnson
Sound Design Dan Clarkson
Original Compositions Ashley MA Walsh
Associate Set & Lighting Joanne Marshall
Associate Director Alexandra Whiteley