Stephen Briggs adaptation of Terry Pratchetts fantasy fiction novel Wyrd sisters, invites the audience into a world of parody in a humorous blend of Monty Python absurdism meets Shakespeare.
Opening with three witches (the Wyrd Sisters) huddled over a cauldron we hear the line: “When shall we three meet again?” and with a deadpan “Well I can do next Tuesday”, the satirical tone is set and we soon realise this play won’t take itself too seriously. Woven into this fantasy adaptation are meddling witches, a scheming duke and duchess, a murdered king’s ghost, a baby heir smuggled into hiding, a travelling troupe of actors and a reluctant fool. Restoring the rightful heir to the throne becomes the witches’ main plight all while challenging the philosophy of whether we control our destiny or it controls us.
Director Sally Daly undoubtedly had a task ahead of her bringing Wyrd Sisters to life and to eager Pratchett fans and non-fans alike. Stephen Briggs script manages to weave wit, fantasy, magic and thought-provoking narratives inside nuanced references to Macbeth. And in playful meta-theatrical style it makes nod to Hamlet and A Midsummer night’s dream.
The Stagehouse theatre, plays host to this production and offers a lovely expansive stage. The tri-level minimalist set relies heavily on the lighting to shape scenes requiring more intimate space. At other times the very large stage wasn’t helpful to the actors and often diminished the actors’ presence and impact.
Sound also proved challenging. Without strong projection or microphones, several lines were lost into the void, extinguishing the punch of some of the sharper comedic beats. This was disappointing for the actors and I noticed more than a few audience members leaning in to hear. Sound projection was an ongoing issue, especially with the Fool (Sam Bentley), whose enthusiastic movement and antics often muffled his dialogue.
Sam Bentley as The Fool embodies the presence and accent reminiscent of Lord Percy in the Black Adder, and is very fitting to this period piece.
Costuming was on point and provided much of the authenticity and atmosphere this farcical period piece demanded. The three witches each had their own distinctive costume style as are their characters. Granny Weatherwax played by Amanda Lay provided a formidable anchor for the two other witches. The junior witch Magrat played by Marisa Bucolo added a youthful energy to her role. Nicky Whichelow as Nanny Ogg is a standout with her delightful contorted facial expressions providing great comic relief.
The Duke (Aodhan Thomas) and Duchess (Jacqueline Ellis) deliver their lines with confidence though there are times when their exchanges lack cohesion and flow. The duke navigates his personal demise and nervous breakdown with great energy again emphasising a nod to Shakespeare.
Nick Daly’s portrayal of the oblivious heir Tomjon shines with his bright upper register voice, conveying the naivety and innocence essential to the character.
Special mention goes to the support actors and ensemble cast who often play more than one role with quick changes. Although the first act suffered with some pacing issues, and tentative delivery of dialogue at times, the second act was a lot stronger. The sound projection had improved, and I’m sure these opening night nerves and tweaks will resolve with future shows.
All things considered, the production’s strong ensemble work and the clever Shakespeare-tinged script make Wyrd Sisters an entertaining show.
Wyrd Sisters is running at StageHouse theatre Stafford for a limited season until the 22nd of November.
For bookings go to: Terry Pratchett’s Wyrd Sisters Tickets, Stagehouse Theatre, Stafford | TryBooking Australia
To book tickets to Wyrd Sisters, please visit https://www.artstheatre.com.au/wyrd-sisters/.
