The Witches, National Theatre review ★★★★★

Witches… they could be masquerading as lollipop ladies, ice-cream sellers, or any number of seemingly sweet and industrious women in this creepy, musical take on the Roald Dahl classic. As entertaining for adults as it is for kids, the National Theatre’s Christmas offering triumphs with impressive magic tricks, show-stealing performances from two of its young leads and a light but present message of not judging by appearances.

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Lucy Kirkwood’s (book and lyrics) adaptation, directed by Lyndsey Turner, brings the story into the present day: these witches have the tricky job of ensnaring a generation of children sat at home on TikTok instead of playing out, but appease themselves by taking selfies with their leader. They're on a mission to turn all the kids in England into mice.

Katherine Kingsley (Grand High Witch) and The Witches company at the National Theatre. Photo: Marc Brenner

With his parents ‘gone’ in a flicker of police tape and broken car parts, our hero, Luke, is stuck with his cigar-smoking, witch-hunting Norwegian gran. But in a production that doesn’t shy away from the topic of death, things are about to get a whole lot darker for these unlikely comrades, as Luke and Gran find themselves staying in the Bournemouth hotel that’s hosting the country’s convention of witches.

Lizzie Clachan’s superb set conjures up multiple rooms around the Hotel Magnificent and beyond, transporting us between grand and modest bedrooms, a gilded lobby, a grotty kitchen and corporate conference room. Each is embellished with its own box of tricks, courtesy of co-illusion designers Chris Fisher and Will Houstoun, who enable the NT’s talented Young Company to pop up out of boxes with their faces stuck inside inanimate objects, or morph into mice before our eyes.

Cian Eagle-Service (Bruno) and Bertie Caplan (Luke) in The Witches at the National Theatre. Photo: Marc Brenner

Leading the press night cast of youngsters as Luke is Bertie Caplan, who’s like a young Charlie Stemp – singing, dancing and acting with prowess. Matching Caplan’s energy and topping his charm is Cian Eagle-Service as posh kid Bruno. His big number Bruno Sweet Bruno, in which he woos a gaggle of swooning women, is a tough act for any pre-teen to pull off, but he does so with suavity and skill. While this is very much the kids’ show, Katherine Kingsley as the Grand High Witch, Daniel Rigby as Mr Stringer and Sally Ann Triplett as Gran are all terrific.

To pick holes, Turner’s chorus of witches could be scarier. Sure, their writhing and twisted faces are a fitting contrast to their poised, skirt-suit-wearing alter egos, but glimpses of Kim Kasim’s wig and make-up abilities suggest the show could go further. Gender-wise, it’s also questionable that in 2023, the witches are quite so homogenous.

Annabelle Jones and Bertie Caplan (Luke) in The Witches at the National Theatre. Photo: Marc Brenner

Still, the songs, co-written by Kirkwood and Dave Malloy (music and lyrics), are fit to rival those in Tim Minchin’s Matilda. Wouldn’t It Be Nice? is anespecially funny taunt aimed directly at the parents and carers in the room, reminding them there are no refunds on their sprogs.

Catch it over the festive season and this show might act as a clever hint to little ones that there could be more at stake than an empty stocking if they’re not well behaved. It’s not a Christmas show though, and deserves a long life after the pantos have been packed away for another year.