Profile Theatre’s “Witch” Casts a Smart, Modern Spell in Portland

Profile Theatre in Portland has launched a new production of Jen Silverman’s “Witch,” a sharp and darkly funny re-imagining of the 1621 play “The Witch of Edmonton” by William Rowley, Thomas Dekker, and John Ford. The show runs at the Ellen Bye Studio in Portland Center Stage’s Armory (128 N.W. 11th Ave.) through November 2, 2025, directed by Josh Hecht.

This version keeps the play’s Faustian core—a devil named Scratch visiting a small village called Edmonton to tempt people into trading their souls for their deepest desires—but delivers it with modern clarity and bite. Instead of old English dialogue, the characters speak in plain American English, which makes the centuries-old story feel incredibly present.

Scratch, played by Joshua J. Weinstein, has the cool confidence of a corporate negotiator. His job: persuade villagers to sell their souls. Some are easy targets—like Cuddy Banks (Charles Grant), who just wants the freedom to dance Morris and earn his father’s love, and Frank Thorney (Logan Bailey), the charming opportunist favored by Cuddy’s father, Sir Arthur Banks (George Mount). Sir Arthur, meanwhile, is blind to his son’s turmoil, preferring to cheer from the sidelines as tensions between Cuddy and Frank rise.

Then there’s Elizabeth Sawyer (Lauren Modica-Soloway), the town’s outcast and rumored witch. Unlike the others, she isn’t buying what Scratch is selling. Modica-Soloway’s performance gives Elizabeth a mix of strength and exhaustion—her quick, biting responses cut through Scratch’s manipulative charm with lines like “That’s your pitch?” and “That’s dumb.”

The production’s humor emerges naturally from the contrast between 17th-century costumes and modern-day language. Costume designer Ahmad Santos gives the villagers everything from plain peasant wear to rich, ruffled finery. Cuddy’s increasingly lavish ribbons and bows become visual signs of his emotional unraveling.

Peter Ksander’s scenic design transforms the stage brilliantly: a stark, wood-paneled room doubles as Elizabeth’s lonely hut and the Devil’s pub. Then, the walls slide open to reveal Sir Arthur’s castle—complete with an absurdly large portrait of Cuddy’s late mother, whose wild-eyed expression presides over the chaos. Inside the castle, choreographer Adin Walker brings a dazzling dance sequence that starts as traditional English country steps and explodes into individualistic, expressive movement.

The technical work across the board is exceptional. Lighting designer Blanca Forzan and composer Rory Stitt heighten the show’s emotional range—building suspense one moment, then letting humor bubble up the next.

Silverman’s writing keeps one question simmering: “How do we have hope?” The play suggests that losing hope isn’t about wealth or status—it happens when people feel unseen. Whether it’s Elizabeth’s isolation or Cuddy’s longing to be accepted, the story captures the ache of invisibility that still feels painfully familiar today.

With performances full of energy, design that’s both clever and beautiful, and direction that balances comedy with emotional depth, Profile Theatre’s “Witch” is a standout fall production that proves serious craft and humor can thrive side by side.