The Bewitched was once described to me as “A syphilis-ridden carnival of death”… that alone should entice a modern (er, I mean, postmodern, or post-postmodern) audience. The fact that this show is of excellent caliber, with conservatory actors making their debut under the direction of Dora Award-winning Nigel Shawn Wiliams, is just icing on the proverbial cake.
Peter Barnes’ epic play The Bewitched is a show you will not want to miss. York University’s theatre department is tackling this horrifically absurd play, running publicly from April 19th – April 25th.
Set in 17th century Spain, The Bewitched is the story of the last of the Hapsburg royal line, a family of rulers so inbred that their diseases prevent them from producing an heir to the throne. This physical manifestation of corruption mirrors the appalling deterioration of the state and church, in an interpretation of the irrational fanaticism that led to the War of the Spanish succession.
While some of Barnes’ plays are too dated to be relevant, the shocking style and ever-poignant themes of The Bewitched is guaranteed to appeal to the contemporary desensitized audience. Written in 1974, this dark piece was intended as a social commentary on poverty and social distress in the UK- a time when everyone was questioning the legitimacy and capability of their government. Now in an economic recession, in which we are questioning global leadership, it remains a pertinent play.
And believe it or not, The Bewitched is a comedy. In what can only be described as a Monty Pyhon-esque style, Barnes takes the idea that, “Nobody expects the Spanish Inquisition!” to heart, as he presents a witch hunt, a pair of torture goons, and a complete Auto de Fe. It is a terrifyingly hysterical journey.
Come check it out, it promises to be a truly a bewitching experience.
For more details or to order your tickets, go to
http://www.yorku.ca/finearts/theatre/Theatre@York/boxoffice.htm
A Note from the Props Shop
“You want what?” I ask, only mildly surprised at the request.
“A phallus, let’s say about 4’ long” is the reply. This odd item is not at the behest of a male ego, but rather it is the first of many interesting props for Theatre@York’s latest main stage production. The Bewitched is a… unique play, and as Head of Props for this endeavor, I can have had the experience of studying the play from all of its twisted angles. From torture instruments to bibles, it’s been an interesting show to build.
One morning I found myself on the phone with a local religious centre, attempting to track down an aspergillum (a holy water sprinkler, for all you non-Catholics) and being as efficient as I am I was multitasking and researching online for other items. I suddenly found myself speaking with a sweet old lady about religious artifacts while simultaneously looking up whips at a sex shop. Thank you theatre, I am going to hell.
And so is my social life. Towards the end of the build my best friend called me, wondering why I’d dropped off the face of the earth. Theatre is one of those truly time consuming projects, wherein if you find the time to shower or only where the same clothes 3 days in a row, you can consider yourself having had “free” time.
“Hi, what are you up to?” she greeted me.
“I’m making a dead pigeon. You?”
Dial tone.
I know, it sounds crazy. And I find myself asking why I do it. I am a walking encyclopedia, I can now tell you all about St. Christopher, what kind of leather is softest and safest to use when whipping someone (for a play or otherwise…), how to build a jig for cutting tapers on a table saw, and even what kind of apples they grew in Spain from 1500 AD on. But what use is that?
Why lose sleep, sanity, and potentially good hygiene over a show that tons of people won’t even see? Why dedicate my life to creating such temporary art? The Bewitched won’t change the world- in fact, most theatre won’t implement much change. It won’t feed Africa, stop war or patch the ozone. But it does make people think- really think, even if it’s just for a moment. Besides, it’s damn entertaining.
