The Story of the Trials of the Pendle Witches
The Dukes, Lancaster
Writer: Richard Shannon
Director: Amy Leach
Designer: Miriam Nabarro
With its root in historical fact, together with much that is sensitively imagined to allow an early 21st century take, Sabbat is a great little play which does not shy away from complexities. Richard Shannon’s script is to be commended for raising questions which it rightly refuses to answer. Where does witchcraft end and herbalism begin? Sympathy for those who may have practised witchcraft and witchcraft itself? ‘Possession’ and mental illness? What did those accused of witchcraft really believe about themselves? What was the role of poverty, illness and lack of education in an inward-looking community in these people’s practices? How much of the trials were actually about displaced anti-Catholic feeling? If Jennet (based on a real character) is an unreliable witness, can we trust Alice Nutter (who really existed) completely? What do these trials tell us about those men who prosecuted these women, and indeed 17th century masculinity more widely? For almost as disturbing as the magistrate Roger Nowell’s fascination by and indeed attraction to the women he accuses, together with fear of their powers, is his stated view of his wife Judith as a child in need of protection (when she questions his judgement, that is).
The four actors: David Acton (Roger Nowell), Hannah Emanuel (Judith Nowell), Christine Mackie (Alice Nutter) and Amaka Okafor (Jennet Preston) are all excellent, and there is real dynamism between them. There are many intense scenes between different pairings, and these work extremely well in a small, intimate space like the Round. The actor who really shone for me was Christine Mackie, whose Alice Nutter was suitably dignified, mystified (at the accusation levelled at her), angry and despairing in turn.
Amy Leach (who last year won a prize at the Manchester Evening News Theatre Awards for her production of Dr Korczak’s Example at the Royal Exchange) is also to be congratulated on her direction of Sabbat, for professionalism and imagination. Two scenes really stand out: when Judith Nowell gives birth to a much-wanted but in the event still-born baby boy (done without words from the actors), and the hangings at the end. Both of these are highly sensitive, highly effective, and strikingly simple.
It’s a good walk up Pendle Hill, and this play may increase the number of hill climbers who make it to the top. But if you don’t, the sound effect of the Pendle wind in this production isn’t at all a bad substitute.
Jane Sunderland
Sabbat runs at The Dukes, Lancaster, until Saturday 21 February 2009, 8 p.m. (except Sunday 8 February and Sunday 15 February). Extra performances Wednesday 4 February, 10.30 a.m.; Wednesday 11 February, 2 p.m.; Saturday 14 February, 3 p.m.; Saturday 21 February, 2 p.m.
Tickets: £5 – £15.50 (concessions available)
Box Office: The Dukes, Moor Lane, Lancaster LA1 1QE. Tel: 01524 598500. E-mail: tickets@dukes-lancaster.org
Web: www.dukes-lancaster.org
Pendle witches: useful websites
• Pendle Witches feature on HistoricUK.com
• Pendle Witches feature on the Moorhouse Brewery web site
• Pendle Witches feature on Information Britain