Review: Coven (Kiln Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️

There’s nothing I love more than seeing a new musical for the first time - the sense of uncertainty as the show begins, knowing full well you may just watch the next big thing explode on stage and discover a new favourite of yours. Of course, not every show can have that success, and for every Hamilton or Hadestown, there are countless others that fizzled out immediately, resigned to a forgotten part of history - a subject that lends itself well to the world premiere of Coven at Kiln Theatre. That particular gem of a theatre in North London has form for new musicals, with its recently staged Two Strangers (Carry A Cake Across New York) having completed a West End transfer and now wowing audiences on Broadway. Would Coven prove equally bewitching, or would this be another case of a tale that shouldn’t be told?

Set in Lancashire in 1612, Coven is based on England's most notorious witch trials, telling the story of a group of women who find themselves imprisoned, accused of witchcraft and waiting for their own judgement. At the heart of this group is Jenet, a woman who accused her family of being witches when she was 9, seeing them all sentenced to death. Now finding herself accused of the same thing, as she listens to other’s stories, she discovers the dark secrets from her own past and realises the truth is being manipulated to fit people’s own agendas.

Written by Rebecca Brewer, Coven is an interesting musical in the sense that it manages to feel fresh in certain respects while familiar in others. The idea of women reclaiming their voices and even rewriting their history has been a growing trend in recent years, with SIX and Sylvia both exemplifying how to deliver this to full effect. Those are two musicals I found myself comparing Coven to, and though this musical may not quite reach those same dizzying heights, it is a worthy addition to this refreshingly growing list of musicals.

Coven has been in development for some time, and this run at the Kiln Theatre marks its world premiere run. With that in mind, it is to be expected that this show would not be perfect and would have some kinks to iron out. This was most prominent in the show’s first Act, which felt disjointed throughout, never quite settling on a tone and proved quite jarring in how unsettled it was. The strengths of the story were clear to see, but the execution was not as faultless as it could have been, though this can be easily remedied for future runs. Elements veered dangerously close to other musicals, though Coven thrived when it settled on its own identity and carved out a name for itself. This was achieved much more successfully in Act Two which thankfully didn't suffer this same fate, upping the ante considerably in a confident and consistent hour of theatre. If the potential of this musical was evident in Act One but not always realised, Act Two ran with it in an exceptional turn of events that showcased the strengths of Brewer’s writing, and Coven as a show, even if it could still use a bit of tightening up in places.

Alongside Daisy Chute, Rebecca Brewer is also responsible for the music and lyrics that form the heart of Coven, setting it up as a contender for one of the more exciting new musicals of the year thanks to a smattering of stunning songs. These numbers take influence from a range of styles with folk influences present and an opening number I couldn’t help but compare to Hadestown stylistically. With strong melodies to be found throughout, the songs prove rousing and anthemic at their best, with some truly astonishing numbers - the strongest of which is undoubtedly Act Two number ‘Burn Our Bodies’. Destined to become an anthem in itself and sure to be a favourite among musical lover, this incredible song showcased Coven at its very best, with its impeccable performance resulting in a huge showstopper, receiving by far the biggest response of the night. It’s moments like this that had me leaving the theatre excited about the future of this exciting new show.

Miranda Cromwell’s direction breathes life into the story, making full use of the space at the Kiln Theatre with an impressive set, designed by Jasmine Swan, that manages to be appropriately stark and atmospheric, yet never dull. Paired with Shelley Maxwell’s choreography, the biggest numbers in Coven ignite on stage, causing a satisfying explosion for the senses and playing to the strengths of Brewer and Chute’s electric songs. A stellar use of crystal clear and occasionally eerie sound from Helen Atkinson, and lighting from Zeynep Kepekil ensures Coven is a slick and stylish affair in a fine example of all creative elements working together to create a real sense of magic.

Though the material wasn’t as strong as hoped from start to finish, one aspect of Coven that never faltered is its sensational cast, full of some of the brightest talents in the UK. Gabrielle Brooks leads the cast with a star turn as Jenet, showcasing vulnerability and passion in a mesmerising performance that also demonstrates her incredible vocals. There is a real authenticity and power in Brooks’ performance that lifts the material, making this an urgent and compelling watch.

Allyson Ava-Brown is another standout in her role as Nell - when she sings “We’re not going anywhere”, you hope she means it, as Coven is another fitting example of her impressive strengths as a performance. Lauryn Redding delivers a powerhouse performance as Rose, dominating proceedings with her story and proving to be the key catalyst as the story progresses, with Shiloh Coke a firm highlight as Frances. Diana Vickers gets perhaps the most unusual roles in the show, taking on two male characters from a villainous prison guard to a cocky and conniving child. It’s certainly a performance unlike any other I’ve seen from her, or any other in this particular show, bringing a sense of comedy to the darker tones of the story.

Coven may not be completely flawless yet, and gives the sense that there is more to come from it before it reaches its full potential. However, for a first outing, it is pretty impressive. Though a slightly wobbly first Act initially left me worried about how much I would love this, a far stronger second Act cemented this as a solid new musical, and one that is sure to have a thriving future ahead of it. Though the “witches” in Coven may have been relegated to the history books, there is no doubt that this musical will be anything but forgotten, and with just a few tweaks to reign in the uneven tone, it could take its rightful place in musical theatre history as the next big thing. Definitely one to watch over the coming years.

Coven plays at Kiln Theatre until 17th January. Tickets from https://allthatdazzles.londontheatredirect.com/musical/coven-tickets

Photos by Marc Brenner