Wyrd Sisters

Contrary to the wise words of Granny Weatherwax, ‘We are bound to be truthful – there’s no call to be honest,’ as an impartial audience member for the final performance of Maldon Drama Group’s Wyrd Sisters, I feel compelled to be as honest and truthful as my position requires me to be. Let us hope I never live to regret it should I ever cross paths with Granny if she disapproves, because, as we all know, she delights in having ‘opinions’.

Directed competently and with much consideration to all aspects by Helen Rasmussen, the evening started with a clap of thunder and cackling hags (with one in training) gathered on the moors one desolate night. With clever lighting provided by Simon Cooke, it was easy to distinguish between the various settings; with a green wash and foliage in the forest, to high-lighted brickwork in the dungeon; a window projection for the witches cottage, and I found most effective the dungeon bars set back into the wall which gave a real sense of depth to a very simple set.                       

With the array of locations Pratchett provides as a challenge to directors and set designers, this hurdle was overcome with ease, stripping back what could have made set changes laborious and instead opting for simplicity – two chairs for the throne room in Lancre Castle, a set of stocks for the dungeon, and some very well picked props to set the scenes with ease. Subtle yet effective sound effects added to the atmosphere for each scene – a steady dripping in the dungeon, birdsong in the forest.  All set changes were brief and in darkness so the pace was never dropped throughout.  Some changes were accompanied with brief musical interludes, operated well by Michelle Fisher. The refreshingly simple set itself was provided by the reliable Robin Winder.  Stage management by Anne Hine and Neil Fisher was very efficient, with no obvious props missing, nor missed cues.  Special mention must also be made of the delightful cracks and sparks from the pyrotechnics as the witches cast their spells.

Nanny Ogg merrily stomped her way through the pacey production in her bright green patent DM’s, played by Carey Brown with aplomb.  Perfect comic timing, never missing an opportunity to raise a smile, or indeed an eyebrow with an assortment of props tucked away amongst her innumerable tangled petticoats.  The young witch in training, Magrat  Garlick, was the graceful Mabel Odonkor, striking in her elegant green dress. Instantly likeable, keen and relatable, the audience had a small anchor to the reality (of sorts) amongst these eccentric characters.  Perhaps the more difficult to play of the three witches, Granny Weatherwax was played by Dina Harris, a slightly younger version of the irascible Granny then I was expecting, but nonetheless successfully completed the trio of our Wyrd sisters.  Maybe with a slight more focus on aging Granny, the ensemble would have sat a little easier with me, but it did not detract from the overall enjoyment of the production. 

Lord and Lady Felmet, played by Dedric Smith and Ghislane Davis were a good matching for the equivalent of Macbeth and his overbearing Lady.  Ghislane dominated the stage well over her degenerating counterpart, although I didn’t quite catch every word, with some lines delivered upstage.   Scott Peters was our witty Fool, a hardworking sort of a chap, who was content in working the audience for laughs and was confident in his character and ability. (I did particularly enjoy the numerous comedy moments added for laughs – the Eastenders crescendo for one.)Young Tomjohn bounded onto the stage for act 2 (some 15 years later) played by the energetic Nikita Eve, and set the pace well for the second half. 

 It is all too easy to become complacent in a minor role, and lose pace and conviction which can bring a production down.  However, in this production the minor roles added a real comedic value, with the guards having seemingly walked off the set of a Month Python film and stumbled into Maldon Town Hall.  All villagers, ruffians, even spear holder number two were focussed in fabulous costume and worked together well. Just one opportunity I felt was lost, which was the demon summoned from beneath the pile of washing. The manifestation and performance by Paul Bonnici was perfectly apt, but I do feel his costume was overlooked when compared to the quality of the others.                                                                                                                                                           I Did struggle with speech and diction at various points of the evening, despite the microphones onstage, so a few of the witty remarks and gags were lost. But the staging was effective, well thought out, and the high quality of the props and costume enriched the performances.  Helen Rasmussen has put together a strong cast and crew, and directed a well formed resulting piece of theatre.  I found the overall production pacey, vibrant, and clever in its simple delivery of the complex Discworld.

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