There’s a deliberate minimalism to Corrib’s interpretation of Donoghue’s works. Each story leads into its successor like a Matryoshka doll, but there are motifs that echo in each telling: the complications of life among royalty, the need to change to survive a dangerous world, and the presence of a clever witch who gives desperate wanderers not what they want, but what they truly need. The result is an ethereal experience, a dreamlike but familiar new take on a classic ideal.Īdapted from a collection of short stories by Donoghue herself, Kissing the Witch is an anthology of five distinct fables. Those words neatly encapsulate playwright Emma Donoghue’s mission: to create new fables, pulling from the Brothers Grimm and Charles Perrault, while battling the genre’s regressive sexism and overly simplistic morals. Another adds, “When a girl does the same, it’s only a fairy tale.” “When a boy changes his life, it’s called an adventure,” one comments. In the opening scene of Corrib Theatre’s production of Kissing the Witch, characters opine on the nature of stories and how we perceive them. Kissing the Witch (Adam Liberman/Photo by Adam Liberman) By Morgan Shaunette Jat 10:11 am PDT
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