Find out what is being said about the new musical based around the infamous Pendle witch trials.
WhatsOnStage: “Director Miranda Cromwell, along with choreographer Shelley Maxwell, bring pace and a huge amount of movement to the show. There is good use of the ensemble and their combined vocal strengths. Jasmine Strong’s set has precarious steps up to a foreboding stone platform, with the jail door beneath. Organic, earthy colours and tones dominate, along with a haunting use of shadow, and lots of atmospheric dry ice.”
Time Out: “Director Miranda Cromwell could do with evening out the tone that flicks from goofy to grave – a Horrible Histories vibe with false moustaches on the one hand and some moving moments of sisterly solidarity on the other – overplaying the comedy at the expense of building up emotional heft. But the second half settles and finds its purpose, with story and songs more integrated and a couple of really strong numbers, including one where Jenet denounces her family in a stuttering, incantatory way.”
All That Dazzles: “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.”
The Guardian: “There are many potentially powerful strands of story, from the coercion of children to the way in which the poorest, most disempowered women were targeted. But too much is stuffed in and not much of it evokes enough horror. Maybe it is because of the comic tone and cartoonish portrayals, which give it a Blackadder-ish glibness. “
London Unattached: “What struck me most deeply was Coven‘s reworking of English oral tradition. Daisy Chute’s expansive musical training gave the folk-rock sound real gravitas; Brewer’s lyrics were well-judged. It creates a musical world that echoes contemporary artists – I thought of Johnny Flynn, Laura Marling, Cosmo Sheldrake – and age-old English melodies, together. This is an expansive, multilayered drama with charm to spare.”
Theatre & Tonic: “Overall, Coven is a striking and emotionally charged new musical, written by women for women. While some tonal shifts and choices at its climax didn’t fully land for me, the production’s strongest moments are incredibly impactful, making it a compelling and interesting piece that many will connect with.”
British Theatre Guide: “Miranda Cromwell’s production keeps things constantly moving even when not much is happening, and it gathers pace after the interval to deliver an emotional effect stronger than any intellectual argument.”
The Stage: “Sluggish new musical about the infamous Pendle witches is cluttered with crude politics.”
Musical Theatre Review: “There is undoubtedly much to explore in the stories of the people who were subject to witch trials and in the real lives disrupted. One comes away believing that Brewer and Chute have nailed why the story is so relevant, with misogyny and demonisation on the rise once more. But Coven, for all its attempts to do so, cannot decide how it wants to tell that story, or who it really wants to centre.”
The Standard: “Ironically, it takes the introduction of the puppet representing Jenet as a child (built by Oliver Hymans and directed by Laura Cubitt) to introduce subtlety to the characterisations. There’s the germ of something interesting here, about sorority and male attitudes to women, but right now it’s woefully, clumsily done.”
Theatre Cat: “It could be cheesy but isn’t; we are by that time gripped, men in the audience as spellbound as anyone, finally cheering manically at the great chorus. The resolution of the women’s stories – grim for most, as it was in real life – is well handled: there’s defiance and hope and even humour. There are good reasons this show is selling so fast.”
The Arts Desk: “Feminism to the fore as drama disappoints”
The Reviews Hub: “There are some good vocals, but in character, book and songs, there needs to be greater consistency and a stronger purpose.”
London Theatre.co.uk: “This feminist note, which sees the formation of a fragile sisterhood in perilous conditions, is beautiful but encapsulates the show’s struggle to bring these women to life as flesh-and-blood individuals rather than as an empowering idea.”
West End Best Friend: “It is safe to say that Rebecca Brewer, Daisy Chute and the rest of the team have brewed a potion for success with Coven, a play whose echoes will linger in the air long after the audience have left the auditorium. We can only hope that a cast recording will soon be on it’s way!”
Theatre Weekly: “There is much to admire in the ambition and artistry behind this production, and its commitment to female voices is commendable. But ambition alone cannot substitute for coherence. Coven is a show with power in its veins, yet its heart remains elusive.”
Broadway World: “Cromwell’s direction makes fine use of the space with Jasmine Swan’s design: a large, dark multi-level structure.”
The Upcoming: “Coven is a must-see, and if there’s any justice, it’ll be transferred to the West End before the end of the decade.”
To book tickets visit: https://kilntheatre.com/whats-on/coven/