Witchcraft is a prominent theme in the works of playwright Jen Silverman. Silverman explores the idea of witchcraft not only as a literal form of magic, but also as a metaphor for the power of women and marginalized individuals within society. In her play "The Moors," Silverman delves into the lives of two sisters living in a desolate mansion on the English moors. One of the sisters, Agatha, is portrayed as a witch who possesses supernatural abilities. However, it becomes clear that Agatha's power extends beyond just her magical abilities. She is also depicted as a strong and independent woman who challenges traditional gender roles and expectations.
She is also depicted as a strong and independent woman who challenges traditional gender roles and expectations. Similarly, in "Collective Rage: A Play in 5 Betties," Silverman explores the concept of witchcraft through the story of five women named Betty. Each Betty is a representation of a different aspect of feminism, and together they form a coven of sorts, channeling their collective power to challenge societal norms and expectations.
Witchcraft Jen Silverman
Upcoming: November 8 – December 17, 2023 at Second Stage
(1f, 4m)Step into a sophisticated, slippery world where the line between truth and fiction is all in the packaging. It's 1936, and a pair of passionate filmmakers have landed their next big project: a sweeping Spanish Civil War film with the potential to change American hearts and minds. It just happens to be bankrolled by the KGB. This seductive and funny new play about the art of propaganda and the dangerous ongoing Disinformation Age explores how art can change the world—for better and worse.HIGHWAY PATROL
Upcoming: January 20 – February 18, 2024 at The Goodman
(2f, 1m)TIMESTAMP: October, 2012: “@DanaDelany, Are you married? If not, I’d marry you.” When Cam, a 13-year-old fan in a desperate medical situation captures actress Dana Delany’s attention on Twitter, she’s quickly swept into an intense, around-the-clock online friendship. But when Cam starts receiving messages from beyond, Dana is thrust into a world where unexpected revelations raise the question of how far we go to love and be loved. A strange thriller—part love story, part ghost story—crafted from thousands of Dana’s saved tweets, emails, and DMs.THE MOORS
(5f, 1m)Two sisters and a dog live out their lives on the bleak English moors, and dream of love and power. The arrival of a hapless governess and a moor-hen set all three on a strange and dangerous path. The Moors is a dark comedy about love, desperation, and visibility.THE ROOMMATE
Sharon, in her mid-50s, is recently divorced and needs a roommate to share her Iowa home. Robin, also in her mid-50s, needs a place to hide and a chance to start over. But as Sharon begins to uncover Robin's secrets, they encourage her own deep-seated desire to transform her life completely. A dark comedy about what it takes to re-route your life - and what happens when the wheels come off.WINK
(1f, 3m)Sofie is an unhappy housewife. Gregor is her bread-winning husband. Dr. Franz is their psychiatrist. Wink is the cat. And Gregor has just skinned the cat. A dark comedy about the thin, thin line between savagery and civilization.WITCH
(2f, 4m)A charming devil arrives in the quiet village of Edmonton to bargain for the souls of its residents in exchange for their darkest wishes. Elizabeth should be his easiest target, having been labeled a “witch” and cast out by the town, but her soul is not so readily bought. A darkly comedic retelling of a Jacobean drama, this subversive fable debates how much our souls are worth when hope is hard to come by.COLLECTIVE RAGE: A PLAY IN 5 BETTIES; IN ESSENCE A QUEER AND OCCASIONALLY HAZARDOUS EXPLORATION; DO YOU REMEMBER WHEN YOU WERE IN MIDDLE SCHOOL AND YOU READ ABOUT SHACKLETON AND HOW HE EXPLORED THE ARCTIC?; IMAGINE THE ARCTIC AS A PUSSY AND IT’S SORT OF LIKE THAT
Betty is rich; Betty is lonely; Betty’s busy working on her truck; Betty wants to talk about love, but Betty needs to hit something. And Betty keeps using a small hand mirror to stare into parts of herself she’s never examined. Five different women named Betty collide at the intersection of anger, sex, and the “thea-tah.”PHOEBE IN WINTER
(2f, 4m)When three brothers return home from a distant war, they prepare to settle into their old lives. But a knock at the door yields a girl named Phoebe who accuses them of killing her own three brothers, and demands reparations. As Phoebe's presence changes the very structure of their family, a war that was once far away now threatens to re-ignite inside their home.More On The Plays
Alexis Soloski for the New York Times: “Working in TV, Jen Silverman Wrote a Novel. About Theater.”
Ashley Lee for the LA Times on WITCH at the Geffen
In conversation with Amy Levinson on WITCH with The Geffen
In conversation on THE MOORS with David Adjmi for American Theatre Magazine
In conversation on THE MOORS with Elissa Blake for Audrey Journal, Australia
Neha Kale on THE MOORS for The Sydney Morning Herald, Australia
In conversation on WINK with Anthony Skuse for Audrey Journal, Australia
In conversation with Ely Kreimendahl for Shame Spiral
Selected Press
If you’re wondering whether you’ll enjoy the revolution, Collective Rage makes an excellent (and hilarious) test case.
—Jesse Green, New York Times Critic’s Pick
[The Moors is] a kinky, brilliant homage…a scintillating engagement that flits between gothic spoof, fen-sucked fabulism and queer bodice-ripper…Bizarre and raunchy, subversive and disturbing, and deliciously funny all at once.
—Sydney Morning Herald
The Moors rolls out like the stuff of dreams, with telling passages heightened by surrealistic flights of fancy…Deep and grim yet playfully buoyant.
—The New York Times
Silverman is an observant, lyrical and kind writer, generous to all and without any notes of condescension in [their] writing. For all the deviance, [The Roommate]’s ambitions remain rooted to the study of its characters.
—Chris Jones, The Chicago Tribune
Silverman isn’t interested in the dull details of conventional storytelling…Delicious [and] surreal. …A play that gives two noningénues strange [and] meaty roles.
—Jesse Green, The New York Times on The Roommate
In its wryly unassuming way, “The Roommate” is laced with insights into how a lifetime’s accumulation of frustrations and disappointments can erupt into the kind of rebellion that only seems out of character to those who aren’t paying attention.
—The Boston Globe
Slyly subversive…a keen intelligence…Silverman is an emerging talent to be reckoned with. Particularly impressive is [their] unsentimental insight into the risks of radical reinvention.
—The Los Angeles Times on The Roommate
[Witch is] shrewd and passionate… Fascinating and intense… We’ve heard this same story retold for hundreds of years with male parties: How does the equation change when the Faustian bargain must be made by a woman?
—Chris Jones, The Chicago Tribune
Marvelous … Jen Silverman’s exceedingly smart new comedy casts an intoxicating spell.
—Chicago Sun Times on Witch
Silverman’s dialogue accomplishes so much, so succinctly, that it establishes itself right away as the biggest star of the Geffen Playhouse’s starry production.
—The Los Angeles Times on Witch
Ms. Silverman has created a modern fairy tale, a little bad wolf whose lopsided grin reveals its crooked, bloody teeth.
—The New York Times on Phoebe in Winter
Silverman's play makes the term "black humour" seem pallid. This is riotous comedy. [Their] audacity has you wincing and snorting.
—Sydney Morning Herald on Wink
Jen Silverman [has] written a diamond. A hard, sharp, lustrous thing made from the bones of what came before…This is what theater can be and this is what it can do. This play will change your life.
—New City on Witch
Neha Kale on THE MOORS for The Sydney Morning Herald, Australia
Silverman's works often feature female characters who are misunderstood, marginalized, or vilified by society. Through the lens of witchcraft, she empowers these characters, showcasing their strength and resilience. Witchcraft becomes a symbol of the agency and power that women and marginalized individuals can possess, even in oppressive environments. Furthermore, Silverman's examination of witchcraft challenges traditional narratives and stereotypes surrounding witches. Instead of depicting witches as evil or dangerous, she portrays them as complex and multifaceted individuals who are often targeted due to their differences. This subversion of stereotypes serves to highlight the discrimination and prejudice faced by women and marginalized individuals in society. Overall, Silverman's exploration of witchcraft in her plays serves as a powerful commentary on gender, power, and societal norms. By portraying witches as symbols of strength and resistance, she challenges audiences to reconsider their beliefs and biases, ultimately advocating for a more inclusive and equal society..
Reviews for "Beyond Good and Evil: Moral Ambiguity in Witchcraft in Jen Silverman's Plays"
1. John - 2/5 stars - I was really excited to see "Witchcraft" as I had heard great things about it. However, I was quite disappointed with the play. The plot was confusing and seemed to jump around without any clear direction. The characters were also very one-dimensional and lacked depth. Overall, I found it hard to connect with the story and left feeling unsatisfied.
2. Sarah - 1/5 stars - "Witchcraft" was a complete waste of my time. The writing was pretentious and self-indulgent, trying too hard to be edgy and mysterious. The dialogue was convoluted and did not make any sense. The production itself was also lacking, with poor set design and uninspired performances. I regretted spending my money on this play and would not recommend it to anyone.
3. Michael - 2/5 stars - I really wanted to enjoy "Witchcraft", but unfortunately, I found it incredibly boring. The pacing was slow, and the story didn't seem to go anywhere. The attempts at humor fell flat, and I found myself losing interest halfway through. While the concept had potential, the execution was lackluster, and I left the theater feeling disappointed.
4. Emily - 2/5 stars - "Witchcraft" had an interesting premise, but it failed to deliver in terms of execution. The characters lacked development, and their motivations were unclear. The dialogue felt forced and unnatural, making it difficult to connect with the story. Overall, I found it to be a forgettable experience and would not recommend it to others seeking an engaging theatrical production.