Writer: Gavin Fleming
Director: Lydia Sax
Sabbath’s performance dates are no coincidence. Running from 31 October to 5 November, the play hits two critical milestones in the English calendar: Halloween and Guy Fawkes Night. Both days are wickedly appropriate to the performance: this play centres around the 1590 witch trials led by James VI (the same monarch against whom the gunpowder plot was waged). The seasonality of the performance lays the stage for a clever interrogation of the paranoia and hysteria of the trials: an era in which false accusations ran rampant and unspeakable tortures were inflicted upon those with the misfortune to be accused.
Gavin Fleming’s tale captures this historical moment by examining the individual, rather than the collective: this isn’t the story of the witch trials per se, but a deeper dive into the accusations levelled against Agnes (played by Muireann Gallen). Incarcerated and interrogated by the paranoid King (Derek Jeck), her plea of innocence is interwoven with a set of darker narratives and satanic imagery. The effect is pleasingly unsettling and unnerving: the audience is unsure who to trust, and a shifting narrative and disconcerting soundtrack only amplify this effect.
In fact, the combination of eerie background effects (designed by Jonny Danciger and Marta Fossati) combined with colourful costumes (overseen by Hannah Danson) is key to crafting this palpable sense of unease. Period dramas are always difficult to stage but costume is effectively deployed here to give a sense of setting and even the odd sprinkle of satanic ritual. This is complemented by convincing performances from Gallen who plays both innocent midwife and bewitched occultist with careful consideration.
As the accused midwife, she is sincere and heartfelt; as occultist, she contorts and spasms in disturbing ways, acting both the victim and the enchantress in very different ways. Similarly, Jeck, as King James VI also occupies two roles: he initially appears the more reasonable counterpart to his stern advisors, before revealing himself to be the strongest perpetrator of this paranoid witch hunt. It is to their credit that both actors can convey the duality of their characters so effectively.
Duality is at the heart of this production: besides the multiple identities and personalities of the characters themselves, the play itself veers in and out of comedy and history; past and present; innocence and guilt. It’s a key strength of this play, weaving humour and fantasy into its historical thread, but it also means the play tries to inhabit multiple genres at once, and therefore isn’t quite sure where it stands.
The performance sees laughter give way to solemnity and dream sequence give way to reality, creating a sense of disjointedness. However, in a play about paranoia and uncertainty, these transitions or temporal shifts aren’t necessarily out of place – perhaps inviting the viewer to question their own assumptions. Concentrating on a singular genre might have helped to focus the production, but it also would have detracted from its effervescent charm.
Seasonal plays have the additional burden of proving that they are not just temporary attractions, staged specifically for a certain time of the year. Sabbath ultimately shows itself to be more than just a Halloween treat (or trick): this is an intriguing, and multi-layered interrogation of a historical phenomenon which saw over 2500 women burnt at the stake by James IV in his ‘satanic panic’. Into this cauldron are thrown a specific set of ingredients: historical research, carefully considered setting and energetic performance – and the result is an entertaining brew, fit for November nights and beyond.
Runs until 5 November 2023
