Wyrd Sisters

CTW’s Wyrd Sisters was a hugely entertaining adaptation of Terry Pratchett’s book of the same name. Better on the stage than on the page in my view since those style elements that I found annoying or self-indulgent in the novels were transmuted into something visually appealing on the stage. In fact, visually the stage was excellent, with good use of book flats, large props (such as the cauldron and the cat!) and beautiful costumes. The lighting effects, the dry ice/vapour and especially the “wanted” projections to the accompaniment of a Spaghetti Western soundtrack were effective and clever. The sound track is so easily taken for granted as something that simply fills in the gaps but this soundtrack was very well considered and when played through such a high quality sound system made all the difference to audience enjoyment.

The principals were well cast and the witches especially. With so much female talent in the company I could imagine having several workable options as Wyrd Sisters and yet the combination of Christine Davidson (dominant, strong, totally reliable) and Sara Galvin (gurning, hilarious, reminiscent of an aging Popeye) with newcomer Helena Bumpus (beautiful, almost pre-Raphaelite, fey, and totally watchable) was excellent. This let Andrea Dalton make the most of the Lady Macbeth role as Lady Felmet. The men had a little less to do but Terry Cramphorn was a very convincing Duke Felmet, under his wife’s thumb and taking Lady M’s traditional role as the one who descends into guilt-ridden madness.  Theodore Perry’s Fool was anything but foolish and captured the Shakespearean idiom well, with its nods to Lear and Hamlet. Ian Russell was a strong and resonant actor-manager (Vitoller) and Kind Verence, while Alex Phillips, as Tomjon, also did well.

Judging from the audience reception on April 16 Wyrd Sisters was a popular and successful choice of play, with strong production values. It deserves to do well and I would be surprised if it didn’t.

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