Witches Abroad by Terry Pratchett is the twelfth Discworld novel, and the third time fans of the books encounter their favourite three magical women. Written in 1991, it coincided with Stephen Briggs’ first adaptation of a Discworld novel, Wyrd Sisters, premiered by Studio Theatre Club at the Unicorn Theatre, Abingdon in May of the same year. Roll forward thirty-three circuits of our Round world sun, and Stephen has adapted no less than twenty-five Discworld stories, almost all of which have also premiered in the historic Unicorn Theatre, under the skilled hands of the STC. To say the opportunity to see a brand-new Discworld play is ‘unmissable’ would be the understatement of the Century of the Fruitbat, and Witches Abroad delivers a whole deck of aces.
After the death of Desiderata Hollow, Esmerelda (Granny) Weatherwax, Gytha (Nanny) Ogg and Magrat Garlick (a freshly anointed Fairy Godmother) journey to “foreign parts” in order to help Magrat’s new charge. Emberella is a young girl who really would rather not to go to the ball, and definitely does not want to marry the ‘clammy’ Prince! Readers (and now, for the first time: viewers) can ride alongside their myriad surprise confrontations, stumbling across eerily familiar fables. Unsurprisingly, our three can be trusted to switch things up, particularly with the addition of an unstable wand which is obsessed with a certain type of seasonal vegetable! Witches Abroad is a playful and satirical tale that toys with fairy tale conventions, explores themes of self-discovery, and highlights the strong personalities of all involved, not least some of those they encounter on the way. Can the Maiden, Mother and Crone overcome the power of Lilith’s story so that Emberella can reclaim her rightful destiny?
The costumes are satisfyingly sumptuous and authentic, with a sensibly black clad Granny, Nanny in trademark stripy tights and red boots (with Greebo the cat over her shoulders), and a pretty flowery dress for Magrat. Other striking figures are cut by Death, complete with an intimidating scythe, and Baron Saturday, who’s grey, moth eaten attire and eldritch makeup (by Anna Wilson) highlight his undead status. The green, slithering snake sisters and amphibian ‘Duc’ could almost have been peeled away from a Brian Froud canvas.
Scene changes and fantastical elements of the story are relayed by way of a large screen above the stage. Amongst other things, the audience is treated to views of the Discworld Mapp, witches in flight, and the iconic postcards Nanny Ogg writes home during their adventure.
The opening and closing of each act is heralded by a troupe of jolly singers in the style of Gilbert and Sullivan, with music arranged by Dan Booth. The chorus members are all great fun, but Lindsay Rolland’s soaring operatic verve leads the pack.
This is a large cast with a few key players, yet even the smallest roles are handled with passion and respect.
Kath Leighton is a formidable Granny Weatherwax, with stoic poise and a stare so powerful she holds the audience in the palm of her hand. Nanny Ogg is cheekily roguish in the care of Helen Keely, who also perfects her characteristic turn of phrase and foreign language, much to the amusement of everyone. Avery Robinson’s open expressions and unassuming gait make for a charming and relatable Magrat.
There are two narrators who help chivvy the action along, offering witty footnotes to the audience. Orlando van de Bell grasps us instantly with a mischievous smile, while Jamie Mortimer enthusiastically whisks us away in their wake. Michelle Chew carries the weight of the opening scene as the elderly Desiderata Hollow with a gentle insouciance.
Lilith Weatherwax, estranged sister to Esme, is played by Natalya Fenston who commands the stage with grace and a wicked cackle. Helen Drought as the voodoo witch, Mrs Gogol,is insightful and sharp. Her former lover, Baron Saturday (performed by Ben Morel-Allen) skilfully adopts self-assured watchfulness. Jess l’Anson breezily interacts with all the other characters as Emberella, and despite having little to say, Richard Wilson manages to add an almost tangible ickiness to The Duc.
Charlie Vicary revels in feline extraversion in his stint as the human version of Nanny’s cat, Greebo. Her son, Jason Ogg is trustworthy and warm in the hands of Peter Hubbard.
Kat Steiner conveys literal minded honesty as the dwarf, Thighbiter, while Sreya Rao is the very image of serpentine hypnotism as one of the snake sisters. As the woodcutter, Matt Kirk effectually shows the fear brought about by Granny Weatherwax, which is echoed by the unassuming toymaker (Ben Winters) when faced with Lillith.
Mike MacDonald delivers ‘THE VOICE’ of Death with bassy aplomb. As the innkeeper, John Kirchhoff migrates from apprehensive suspicion to cheerful relief after the dispatch of the village foe, and Jack Brougham brings an amusing grouchiness to Hurker, the poacher. As the under footman, Andy Knapton imparts delightful naivety.
Studio Theatre Club’s proud tradition of lovingly breathing dynamism and new life into Pratchett’s masterpieces has been firmly upheld with Witches Abroad, and with it the joy of sharing Pratchett’s tales with fresh audiences advances inexorably on. If you are lucky enough to have secured a ticket (they sold out within 3 hours), you’re in for a courteously crazy carnival!