The Witch of Edmonton (RSC)

A devil dog connects the disparate threads of the atmospheric Witch of Edmonton. The collaborative work by William Rowley, Thomas Dekker, and John Ford followed Henry Goodcole's 1621 exposé The wonderful discovery of Elizabeth Sawyer, a Witch, late of Edmonton.

The titular witch (Eileen Atkins) is a Shylock-like figure. Abused and berated by her neighbors, Mother Sawyer decides that if she is treated like a witch, she will act like one. Who should be listening but the devil, a black "dog" (Jay Simpson) named Tom. Meanwhile, the young Frank Thorney (Ian Bonar) secretly marries the pregnant Winnifride (Shvorne Marks), but his father insists Frank wed the virtuous daughter of a wealthy farmer. The third plot line follows the ridiculous Cuddy Banks (Dafydd Llyr Thomas, resembling Jack Black, here), who asks the witch about a love spell before encountering the devil himself.

Moody lighting, a reedy forest, detailed costumes, and beautiful if brief musical accents bring the rural Jacobean setting to life. One of the most memorable musical interludes is a funny and eerie dance that the devil commandeers. The devil is a marvelous creature. Simpson looks like a traditional demon, nearly naked, covered in paint, and decked with horns and a tail. His animalistic movements and light voice create a seductive, otherworldly figure.

The solid cast is unable to prevent the show from slowing to a crawl during its drawn-out conclusion, and there is one awkwardly prolonged death-scene. Still, the tense Witch of Edmonton makes for a night of spooky and suspenseful theatre.

The Roaring Girl (RSC)

Jo Davies's adaptation of The Roaring Girl just finished its run at the Royal Shakespeare Company. Written by the Thomases Middleton and Dekker in 1611, The Roaring Girl features a remarkable, real-life figure. Mad Moll is a cross-dressing, cigar-smoking woman who assaults the sexist and assists the virtuous. The rest of the play is an uneven romantic farce, sometimes funny, often obscure.

This version has elements of three time periods: it is written in the Early Modern period, set in in the Victorian era, and infused with modern rock music. Still, instead of conveying sexism's timelessness, this decision diminishes Mad Moll's radical character.

Part of the setting's purpose is to show that the Victorian age was not as prudish as we think. One viewer pointed out that at the end of the play, it is not Mad Moll who is isolated, but the old white men. Still, this takes away from the titular Girl, who is far more transgressive than the play attempts to be. Lisa Dillon is fine as Moll "Cutpurse," but her slim, androgynous looks are not truly groundbreaking in the way Moll is supposed to be. Her queerness is rather chic, while Moll is spoken of as an ever-present source of wonder and danger.

The main plot is so silly that a disclaimer is included within the text. A young man pretends to pine for Moll so his true love will look good in comparison. His overbearing father sets out to sabotage Moll. Several scoundrels attempt to seduce two married women--or more precisely, their purses. David Rintoul stands out as the intolerant Sir Wengrave as does Harvey Virdi as Mistress Openwork, who turns the tables on her seducer. (Other names include Gallipot, Goshawk, Dapper, Tiltyard, Trapdoor, and Neatfoot.)

A concluding speech boldly pronounces the importance of individuality and tolerance in the face of societal judgment. The message hits home.

The performances are energetic, and Moll is a brilliant individual. Still, one gets the sense that The Roaring Girl is a fascinating play to study, but one that is confusing and even dull to watch.