Notes From Row H

Theatre Review – Kiln Theatre

Coven is a feminist, powerful, and poignant new musical written by Rebecca Brewer (Foot) and Daisy Chute (Shaun the Sheep) and directed by Miranda Cromwell (Death of a Salesman). It is playing at the Kiln Theatre from 31^st October to 17^thJanuary. 

Set in Pendle, Lancashire in 1612, Coven follows Jenet Device (played by Gabrielle Brooks) when she becomes the one accused of witchcraft, 21 years after accusing her own family of the same crime. It delves into her tussle with her own mind, the secrets of her past, and her eventual epiphany about who she is. Jenet is joined in Pendle jail by five other women who are accused of witchcraft, each with their own stories of male-oppression and heartache. They help Jenet to confront the misogyny and social attitudes that led her there. 

These stories weave together to create and explore their trauma, and the struggles of women to make themselves heard in a world of men: this an empowering message which resonates even in our modern age.  

Gabrielle Brooks (Jenet) strongly leads this all-female cast with an intense energy that effortlessly portrays Jenet’s staunch morality and subsequent internal conflict. Nell (Allyson Ava-Brown) is caring yet determined, Rose (Lauryn Redding) is a drily humorous and combative character, who, yet sometimes exhibits vulnerability. The relationship between her and her mother Martha (Penny Layden) is truly touching, which is only deepened when Martha sacrifices herself for Rose’s freedom. Frances (Shiloh Coke) provides a pious aspect to the narrative, and Maggie (Jacinta Whyte) is a healer, who is a calm and kind presence in the volatile atmosphere. Diana Vickers gives a creepy performance as jailor Covell but provides a starkly contrasting performance as Edmund when he raps his testimony during Jenet’s trial. 

The crowning glory of this musical is of course the music, which is a mixture of folk, laments, power ballads, and rock. A highlight is “Burn Our Bodies” which is an extremely powerful and catchy feminist anthem about protest and resilience. The musicians join the performers on stage, which only adds to the feeling of feminine power and community. 

The lighting designed by Zeynep Kepekli (The Talented Mr Ripley) and set and costumes designed by Jasmine Swan (Babies) are instrumental in helping to capture the emotions and attitudes of the time. A highlight is the puppet of 9-year-old Jenet Device which plays a crucial part in demonstrating Jenet’s past and her eventual role in her family’s death. 

Sometimes, it feels as if the narrative is too full which leads to some of the women’s storylines being underdeveloped and the theme of injustice being repeated continuously. Even though the rap numbers were very amusing and provide some levity, they do slightly make the tone of the show uneven.

All of these elements combine to make a show that is full of thought-provoking themes, and it gives a voice to the nameless women who suffered and were silenced by misogyny.

Written by Helena Featherstone