Wyrd Sisters by Terry Pratchett, adapted by Stephen Briggs.

This was my first visit to the Ifield Barn Theatre, a little pocket treasure of creativity hosting this delightful production of Wyrd Sisters. It had a slightly stark beginning which cleverly served as a curiosity potion, luring the audience in.

The black box set relied on simple signs:- ‘Blasted Heath’ . ‘The Theatre’. ‘The Castle’ to indicate location changes which became a running gag, while props bought on by actors, created the scenes. The dungeon scene used lighting to create a barred window, while the creaking door and clanking key sound effects  synchronised perfectly with the opening of the invisible cell door. The simplicity of the sets contrasted with the colourful characters, humour and storyline, and the audience was enchanted.

The Wyrd Sisters, were beautifully cast, the actors perfecting Terry Pratchett’s witty and whimsical witches with wonderful characterisation and excellent timing. I loved their synchronised actions for ‘may she rest in peace.’

Joy Buchan as Granny Weatherwax, a no-nonsense, sharp witted witch with a wry, dry manner only had to appear to set the audience giggling expectantly and I loved her ham acting when she was in disguise as a poor old woman. Christine Linden-Smith’s blowsy, lusty, good time witch, Nanny Ogg, was hilarious, her body language and facial expressions spot on. Mandi Hollingsworth as Magrat, an idealistic witch-in-training was enchantingly funny – the part could have been written for her.

I thought their costumes cleverly enhanced their characters. The older witches wore red and black although Granny Weatherwax’s ensemble was straight and pointy in contrast to the ruffled and flouncy garb of Nanny Ogg.  Magrat wore a flowing green gown with a pendant and each wore stripy socks and boots.

The rest of the cast produced strong humorous characters with well-timed humour and interactions, some skilfully playing more than one role. Kieron Hammon as Old King Verence generated a sense of weird lost ghostliness in contrast to the laconic yet totally paranoid Duke Felmet (Jonathan Hope.) Autocratic Duchess Felmet was as unreasonable as the Red Queen in Alice. Matthew Thomas was a quirky humble fool with flowery language who managed to stoop and frolic simultaneously. Julian Thomas created the beautifully exaggerated thespian Mr Vitoller as well as doubling as Wilmsloe .  All costumes were well matched to the roles.

There were plenty of gems throughout this play.  A soldier fell forward to reveal arrows sticking from his shift and red painted blood dripping down which was funny and effective. A cutout cart carrying Mr Vitoller and company was led by a hobby horse which swapped ends for the return journey.  Magrat was unsuccessfully trying to light a candle with her powers until Granny Weatherwax switched it (a battery candle) on from the base. The witches conjured up various items (from the wings) and a demon’s head appeared. I also loved the double take as Magrat looked from Tomjon to the Fool the whole ensemble doing likewise, timed to perfection.

The play was a cauldron of humour, brewed with wonderful characterisation from a talented cast. ‘The end’ sign bought on after the curtain call was a sweet and funny flourish to a polished production.

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