Vinegar Tom

Written at the height of second wave feminism, Caryl Churchill’s Vinegar Tom explores the power imbalance between men and women through the lens of the 17th-century witch trials.

It is a play full of rage and desperation, which is successfully captured in Matthew Parker’s production for the Maltings Theatre.

While Churchill wrote the lyrics for the songs that are interspersed throughout her play, she did not provide any sheet music of compositions, leaving Parker and musical director Maria Haïk Escudero free to riff on modern folk-rock music, with touches of Kate Bush and Joni Mitchell. In places, the effect is powerful: the cast is electric, feet stamping on raised platforms, Matt Dugee’s LED lights flashing, and Emilia Harrild leading the group with smoky, angry vocals. In others, the sound doesn’t quite fill the space and the energy is lacking.

Parker has leaned into the Brechtian elements of Churchill’s text, with props dotted about the edges of the stage, electric guitars ready to pick up for the musical numbers and characters lurking in the darkness. This creates a claustrophobic intimacy and the transitions between scenes are slick.

Jill Priest gives a strong performance as Joan, one of the women accused of witchcraft, who rages against her neighbours and bemoans her position in life. Lottie Davies is also entertaining as Ellen, a local woman who makes love potions and herbal remedies, giving the play much-needed light relief. But there are also some patchy East Anglian accents and underpowered performances.

The production is most gripping in the second half. The chilling hanging scene is cleverly crafted ­– Dugee’s lighting plays with shadows and Michael Bird’s harrowing soundscape evokes the whistling wind and creaking ropes – and the Doctor’s (Jon Bonner) medical investigation of the suspected witches is deeply uncomfortable.

This may not be the most polished production, but it still makes an impact, and Churchill’s message about gender and power really hits home.