Review: WITCH at Soulpepper Theatre – Toronto Premiere

Tantoo Cardinal shines in Witch.

Jen Silverman’s Witch, based on The Witch of Edmonton (1621), feels remarkably contemporary. The original play, written by William Rowley, Thomas Dekker, and John Ford, is a subversive work that tells the story of Elizabeth Sawyer, a woman executed as a witch. It contrasts the morality of the privileged—who readily sell their souls to the Devil—with that of the Witch herself, who resists giving up her own.

The story opens with Elizabeth Sawyer (Tantoo Cardinal) addressing the audience as she circles a central, recessed circular set piece that symbolizes a portal to hell. Silverman’s use of modern language and comedy fills each scene with laughter, despite the weight of the themes.

Elizabeth has spent decades alone, branded a witch and blamed for every misfortune. Her home sits at one end of the stage, constructed of simple wood and fur, with a small garden that reflects her connection to the land. At the opposite end stands the castle, where Scratch (Nicholas Eddie)—a young, charming agent of the Devil—appears to Cuddy Banks (Thomas Mitchell Barnet), the effeminate son of Sir Arthur Banks (Oliver Dennis). Cuddy, a passionate Morris dancer, constantly seeks his father’s approval.

Scratch points out that Frank Thorney (Shawn Ahmed), a poor but handsome and conventionally “manly” farm boy, is adored by Sir Arthur—despite being a liar who is secretly married to the maid Winnifred (Heeyun Park). When Scratch reveals that Sir Arthur plans to make Frank his heir, Cuddy’s jealousy overwhelms him, and he offers his soul in exchange for Frank’s death.

After this easy victory, Scratch visits Elizabeth and promises her vengeance against those who have treated her cruelly. To his dismay, Elizabeth decides she would rather keep her soul. Scratch is puzzled but respects her choice and leaves. He returns to the castle to approach Frank, who initially refuses—until he considers the possibility of Sir Arthur dying and leaving everything to Cuddy. Faced with this reality, Frank offers his soul in return for becoming Sir Arthur’s heir.

Sir Arthur, who has everything, is never approached by Scratch. Instead, the patriarch has his most meaningful conversations with the urn containing the ashes of his late wife. He asks her how to deal with Cuddy, who is kind—observing that “if I raise a boy to be kind, it will bring out the inner cruelty of others”—and admits that he knows Cuddy is gay and will never produce an heir.

Drawn to Elizabeth’s earlier rebuke, Scratch pays her a late-night visit. Grateful for the company, she offers him a drink and asks if they can be “off the clock.” He agrees. The two bond over their shared invisibility and the rare experience of being truly seen by one another. A love grows between them. Elizabeth asks why Scratch appears as a young man, and he explains that people see someone “full of hope and success.” He then reveals that he began as a woman but rejected the way others viewed him as inferior.

Scratch spends a week with Elizabeth, astonished that she is the only one who has ever refused his offer. He describes himself as “a merchant of hope,” while Elizabeth’s hope lies in wiping the slate clean—a reset that might lead to a more equal and just society.

The play’s themes remain strikingly relevant: Sir Arthur’s love for Cuddy is overshadowed by his obsession with legacy; the wealthy set the rules; women are treated as possessions; and hope and despair exist as two sides of the same coin.

Soulpepper remains faithful to Silverman’s vision, staging the production in the Michael Young Theatre with a central set (Nick Blais) flanked by 105 and 112 seats, immersing the audience in the story. Courtney Ch’ng Lancaster’s direction heightens the comedy, particularly through Winnifred’s repeated, indignant entrances—each time “spilling” liquids on Frank to express her displeasure. The 95-minute production is a delight, enhanced by atmospheric lighting (Jareth Li), precise sound cues (Olivia Wheeler), and lively choreography by Monica Dottor—especially Cuddy’s Morris dance, which conveys both remorse and relief at having killed Frank.

Tantoo Cardinal, a member of the Order of Canada for “her contributions to the growth and development of Aboriginal performing arts, as a screen and stage actress, and as a founding member of the Saskatchewan Native Theatre Company,” commands the audience from her first appearance. The entire cast is excellent, but the chemistry between Cardinal’s Elizabeth and Nicholas Eddie’s Scratch truly steals the show.

I’ll leave the denouement unspoiled, as Witch is best experienced firsthand. The production runs at Soulpepper Theatre from February 3 to March 1, 2026.