Daryl Van Horne (Philip Bryan, left) shows off as the rest of the cast of Slow Burn Theatre's "Witches of Eastwick" perform at the Broward Center's Amaturo Theater. (Photo by Ron Elkman)
For a fiendishly fun time with a Beelzebub-like being who tries to seduce women – and you – hurry over to Slow Burn Theatre Company.
For its 2024-25 season opener, Fort Lauderdale company, housed at the Broward Center for the Performing Arts, is presenting a show can get everyone in the mood for spookey season.
Specifically, Slow Burn is presenting a bewitching, believable, and energetic production of the stirring comedy-horror musical, “The Witches of Eastwick” with performances through Sunday, Nov. 3.
Philip Bryan as Daryl Van Horne (Philip Bryan), front. Back, from left, Leah Sessa as Jane, Gail Bennett as Alexandra and Lindsey Corey as Sukie. (Photo by Ron Elkman)
Familiar South Florida performers such as Lindsey Corey, Leah Sessa, and Christopher Dreeson have teamed up with talent new to the region, such as Philip Bryan. He is making a delicious Slow Burn debut as a devil-like visitor to a fictional New England town during the 1970s.
Slow Burn’s Artistic Director Patrick Fitzwater directs a talented large cast with flair; the story unfolds seamlessly and entertainingly without dragging in its two-and-a-half hour run time, including an intermission.
Credit Fitzwater’s deft pacing and smart staging, as well as associate director and choreographer Trent Soyster’s fine work. Undoubtedly, Soyster’s seductive and energetic choreography animates this production. In addition, he positions the performers close together during some numbers, which suggests the townsfolks’ solidarity.
Perhaps you are familiar with “The Witches of Eastwick” from the 1984 John Updike novel of the same title. Or maybe the 1987 movie version of the novel starring Jack Nicholson, Cher, Michelle Pfeiffer, Susan Sarandon, and Veronica Cartwright entranced you.
The piece is a crowd-pleaser, if not a great musical. While, at times, it can feel melodramatic and not entirely original, it is humorous and gripping.
The titular not-so-wicked witches are Alexandra Spofford, Jane Smart, and Sukie Rougemont. They live in Eastwick, a fictional Rhode Island small town that may remind you of River City, Iowa — the imaginary hamlet that serves as the setting for “The Music Man.” In fact, “The Witches of Eastwick” bears similarities not only to those classic musicals “The Music Man,” but “Damn Yankees.”
The witches express themselves with intensity. Pictured from left are Lindsey Corey as Sukie, Gail Bennett as Alexandra and Leah Sessa as Jane in Slow Burn Theatre's "The Witches of Eastwick." (Photo by Ron Elkman)
The title characters are unmarried, frustrated and bored with their mundane lives. In addition, they share a desire for “all manner of man in one man.”
Soon, such an individual arrives in the form of the charismatic and sexy Darryl Van Horne (Bryan). He hails from New York City, and almost instantly arouses the ire of Felicia Gabriel (Britte Steele). She is the town’s self-appointed “First Citizen,” a character who is part Donald J. Trump, and part Marjorie Taylor Greene.
Gabriel, who harbors a superior attitude and is a scatterbrain (although unlike Greene, she doesn’t hold fast to conspiracy theories) rules her household, which includes her pitiful husband, Clyde (Dreeson). He is a newspaper editor and Rougemont’s boss, while she writes for the town’s publication.
Felicia Gabriel despises the mysterious Van Horne almost from the start. It’s an adversarial relationship that may call to mind Marian the Librarian’s distrust of Harold Hill in “The Music Man.” However, Marian doesn’t dislike Hill as much as Felicia Gabriel looks down on Van Horne. Still, the similarities to “The Music Man” become obvious. For instance, in addition to Felicia Gabriel’s distrust of Van Horne, “The Witches of Eastwick” pits a worldly, mysterious visitor against provincial, naive small-town folks.
Van Horne seems to win these people over soon after the show begins with the upbeat song, “I Love a Little Town.”
Daryl Van Horne (Philip Bryan) engages in some steamy sexuality with Sukie (Lindsey Corey). (Photo by Ron Elkman)
While the songs in “The Witches of Eastwick” may not stick in your head like numbers from musical theater gems of the past, the music by Dana P. Rowe (composer) and John Dempsey (book and lyrics) include catchy, engaging melodies and smart lyrics.
In the ingratiating “I Love a Little Town,” Van Horne sings:
There's nothing I enjoy so much as somewhere tucked away, that's the same from day to day- where nothing seems to happen, but the gums are always flapping. A town that might attract you not with what so much as who, with nothing to distract you such as things to...well, to do. City life's impossible, and wholly out of touch- four-star restaurants and such; no the grub at these here parties beats the pants off lunch at Sardi's. Sure, some say life is gloomy in a place of no renown; well, call me hick and sue me but I love a little town!
Even before “I Love a Little Town,” at the top of the show, a girl who lives in Eastwick (spirited and sweet child performer Stella Macey) sings fondly about her hometown in the opening number, “Eastwick Knows.” While the girl may not seem central to the story, her appearance at the beginning and at other times throughout the show establishes an air of naivete and purity. Certainly, these qualities stand in stark contrast to the confident Van Horne and the arrogant Gabriel.
While Felicia Gabriel doesn’t appear to possess any redeeming qualities, you can’t say the same about Van Horne. During the show, he not only tries to seduce the titular characters but attempts to unlock their inner potential – and their powers. By the way, expect visual surprises.
Does Van Horne care even an ounce about these women…or does he just see them as sexual objects?
Truth be told, Van Horne is somewhat of an enigma. For example, at one point during the show, he bows gracefully to women, and in another scene, he claims he admires women’s “magic” abilities to, for instance, have children. But at another point, he lashes out at the “witches” after they fear that his influence on the town has gone too far. “You were less than nothing (before I arrived),” he thunders at the title characters. “You were women!”
Ouch. Will the real Van Horne please stand? Chances are, you are not alone if this man, who may remind you of the devilish Applegate from “Damn Yankees,” mystifies or repulses you. In addition to Applegate, Van Horne may remind you of certain real-life folks either in power or seeking it.
As you may recall, in the film version, Nicholson put his vivid sly and charming facial expressions to great use in the role of Van Horne.
While Bryan may not boast facial expressions as telling as Nicholson’s, the former brings his own brand of seduction and charisma to the part. With dark eyes and hair, which includes a mustache and beard, Bryan gives off a seemingly effortless charm and commands attention with the slightest expression. The actor, who has performed in various Broadway tours, also possesses a strong and versatile voice; he can raise or lower it to great effect. Bryan’s Van Horne sounds, at different times, convincingly sexy, playful, gleeful, angry, charming, and empowering.
Bryan also shines physically in the role. For instance, with animal energy, his Van Horne sneaks up on all fours to a woman, kissing her up and down her arms, licking her leg and bearing his chest.
Bryan isn’t the only standout in this cast. In addition, the performers portraying the titular characters match Bryan’s intensity, giving us strong women with commanding personalities. Perhaps they just needed someone like Van Horne to boost their confidence.
Corey’s Rougemont possesses a believable lack of self esteem by herself, but when she’s with her fellow “witches,” she gains self-confidence. Ironically, Rougemont, a journalist, has trouble with words. She conveys this fact through the patter song “Words, Words, Words.” Corey, a versatile, award-winning South Florida actress who boasts a strong and expressive voice, sings “Words, Words, Words” flawlessly; the potentially tongue-twisting lyrics never trip her up.
The performers generally have strong and expressive singing voices, and recorded music ably accompanies them. A highlight is the sultry “Dance with the Devil.”
The witches appearing here are Alexandra (Gail Bennett), Sukie (Lindsey Corey) and Jane (Leah Sessa). (Photo by Ron Elkman)
Broadway actress Gail Bennett plays Spofford with passion and the intensity of her performance makes us believe that Spofford is the leader of the three women.
As Smart, Sessa also brings energy to her natural performance and gives her character an acerbic sense of humor.
Together, the women share a convincing bond. For instance, they lean in together with a common purpose. Also, generally, the performers playing the “witches” steer clear of stereotypes.
Britte Steel plays Felicia Gabriel with a mix of eccentricity and formidability. At times, Steel’s Gabriel seems more like a spaz than a ruthless woman, but she can still instill fear in you.
In contrast to the commanding performances presented by the female cast members, Dreeson makes Clyde Gabriel a weak, ineffectual man who is subservient to his wife. It’s a winning performance of a character you might brand as a loser.
Speaking of contrasts, a strong one exists between Van Horne’s steamy sexuality and the more pure, innocent love between two young characters. Specifically, Tony Carrubba’s purity as Michael Spofford, Alexandra’s teenage son, and Laura Swartzendruber’s sincere innocence as Clyde and Felicia’s college-bound daughter, Jennifer.
The actors perform on scenic designer Kelly Tighe’s set, which includes windows that are seemingly suspended in the air. For a show involving witchcraft, it’s an appropriate design choice. The center of Tighe’s design is a big grey structure that might stand for the town’s courthouse or other such building. Additional scenic design pieces place us in locales such as a diner where Michael Spofford works.
Also, behind the scenes, Clifford Spulock’s diagonal shafts of light, combined with plenty of stage fog, create just the right mysterious aura for a story involving witches. Spulock also wisely uses colors such as pink and red to suggest passion and love. In addition, Spulock smartly varies the intensity of the lighting.
Dan Donato’s sound design produces realistic-sounding noises such as thunder. And Donato’s strong sound design helps ensure that we can clearly hear every word the performers utter.
The catchy costume design, by Rick Pena, includes appropriate colors such as red and black for the devil-like antagonist.
Is “The Witches of Eastwick” a female-empowering show? Or does it come down in favor of a male-dominated society? Parts of the show, including the ending, may inspire you to consider such a question. But overall, “The Witches of Eastwick” is escape and while not particularly scary, will put you in the mood for Halloween. And, in usual Slow Burn Theatre Company fashion produces a winning, memorable production.
IF YOU GO
- WHO: Slow Burn Theatre Company
- WHAT: “The Witches of Eastwick.”
- WHEN: Through Sunday, Nov. 3.
- WHERE: Broward Center for the Performing Arts’ Amaturo Theater, 201 S.W. 5th Ave., Fort Lauderdale.
- TICKETS: Ticketmaster is the only official ticketing service of the Broward Center and The Parker. Buy tickets online at BrowardCenter.org, or Ticketmaster.com; by phone at 954.462.0222; in person at the Broward Center’s AutoNation Box Office.
