Review: The Witch and the Whistleblower (The Glitch)

Review by Ruth Sealey

⭐️⭐️⭐️ 

Earlier this year, I enjoyed both the atmosphere and intimate theatre space at The Glitch, so the opportunity to return for another small-scale production was an appealing one. Bringing together many of the elements I’m naturally drawn to: witches, strong feminist voices, folk music, fringe theatre, new writing and the closeness of a compact performance space, this piece immediately stood out. With so much to capture my interest, the question was whether it would truly ignite those passions or struggle to conjure the impact it promised.

I have watched the stories of witches on a couple of different stages this year, and it feels like a timely moment for theatre to amplify women’s voices, while revisiting the injustices of the witch-hunts and trials. Based on the true story of Margaret Aitken, the narrative follows her decision to collaborate with the witchfinders to save her own life. Branded a witch herself, The Witch and The Whistleblower follows the arrival of the witchfinders in a small town and Margaret’s involvement in identifying, and ultimately condemning, several of its women. In parallel, Marion Walker emerges as a local woman who stands firmly against the trials, rallying the townsfolk in resistance to the witchfinders, the church, and ultimately the authority of the king.

With book and lyrics by Roo Berry, Megan Farquhar, Lauren Foreman and Tia Ray, who also take on leading roles within the production, the team has undertaken an ambitious task in crafting a story with multiple characters and intersecting strands. The script creates moments of real tension and heartbreak as the accused women are turned in, and the town begins to reveal who will stand with, and against, the witchfinder. There are also flashes of strong writing, particularly in the emotional exchanges between Marion Walker and Jane, while the gossiping villagers provide welcome moments of light relief.

However, at times, the central figures of the witch and the whistleblower are not fully explored. In particular, I was left wanting a clearer sense of who Marion Walker really was and what compelled her to take such a risk in standing against the trials. Her character feels somewhat underdrawn, offering only a surface-level insight into her motivations. Likewise, Margaret Aitken is absent for much of the first part of the show, making it difficult to fully invest in her plight when she does appear. Without that earlier grounding, she comes across as a more unsympathetic figure, as the audience is given limited context for how she has arrived in this position.

The final conversation between Marion and Margaret hints at the depth the piece could achieve. Alone on stage, the two women begin to unpick the choices that have led them there, culminating in Margaret asking Marion, “What would you have done?” It is a compelling moment, and one that left me genuinely wanting to understand the answer, or at least to gain a clearer insight into the motivations behind both women’s actions. It is a scene that demonstrates the potential of these characters when the writing gives them the space to explore.

Director Evie Kerr handles the challenges of staging a story of this scale within The Glitch’s intimate space with care and creativity. The use of all four corners of the performance area for entrances and exits helps create a sense of movement and breadth, making effective use of the venue’s compact setting. However, some moments would benefit from greater clarity, particularly in showing how Cowper’s trials are ultimately challenged and brought to an end. While the song ‘Pass It On’ goes some way towards explaining this shift, the staging at this point feels somewhat cluttered and congested, with the space itself appearing to restrict some of the directorial choices. As a result, this pivotal turning point is not as easy to follow as it might be. 

The Witch and The Whistleblower is ultimately a musical, and several of its songs stand out as genuinely strong moments in the production. Jake Dufton and Ell Thompson have created a score that blends effectively with the lyrics, supporting the storytelling without overwhelming it. Numbers such as ‘In Our Town’ and ‘There’s Witches Out There’ are particular highlights, carried by sharp, memorable lyrics that help bring key moments of the narrative to life. There is real scope, however, to make fuller use of the music throughout the piece, and some of the songs feel like they end a little abruptly. Incorporating more musical sections could help break up some of the longer stretches of dialogue and allow the score to have an even greater dramatic impact.

The production’s music is at its strongest in the ensemble moments, where the harmonies are well-balanced and bring a real lift to the overall sound. These sections feel confident and cohesive, highlighting the cast’s ability to come together vocally. At times, some of the individual vocals do feel a little exposed, and the use of backing tracks can make this more noticeable, particularly in the quieter or more stripped-back moments.  

Roo Berry delivers a strong and engaging performance as Marion Walker. Her character arc, from a desire to stay out of sight and avoid trouble, to a growing resolve to stand against the witchfinders, is compelling to watch unfold. She captures Marion’s frustration with the local people and the injustice of the situation with real conviction, and her vocal performance is among the most assured in the cast, bringing added emotional weight and depth to the role.

A real standout is Dan Davison as John Cowper, bringing a strong stage presence and delivering a powerful performance in ‘There’s Witches Out There’. The character is convincingly drawn, with Cowper’s determined and unyielding approach to the persecution of the accused women handled with precision and control. Davison is genuinely intimidating without tipping into excess, making effective use of The Glitch’s space, where his performance looms over key moments.

The cast works exceptionally hard as an ensemble to capture both the frantic energy of the witchfinder’s arrival and the calmer, more intimate moments of personal exchange. Lauren Foreman, as Jane, delivers a particularly strong performance, conveying the emotional weight of her determination to stand against the witchfinder with real sensitivity. Jonty O’Callaghan also provides some well-judged moments as the bumbling minister, with the comedy handled carefully and effectively within what remains a sensitive piece of theatre and subject matter.

The Witch and the Whistleblower absolutely has the foundations of a strong piece, with several committed performances and songs that show clear potential. It raises important questions about how society marginalises groups, and about the divide between those who watch injustice and those who act, which are themes that feel both relevant and worth developing further. At present, however, the production can feel somewhat unsettled in its storytelling, with uncertainty around whose perspective is central and how some of the characters fully fit within the narrative.  Given that this is still early in its development, there is every chance for refinement, and it will be interesting to see how the piece evolves.

The Witch and the Whistleblower plays at The Glitch until 20^th April. Tickets from http://www.tickettailor.com/events/vaultcreativearts/1874827

Photos by Simon Lane