On an evening experiencing a flash snowstorm, the downtown core was transformed into a surprise winter wonderland. And on this very evening, St. Andrew’s Presbyterian Church was transformed into a fairytale during the opening night of Bottle Tree Productions latest installment: The Witch and The Glitch.

I followed along their Facebook page for the better part of the afternoon, watching and waiting to see if the day’s foreboding weather would deter the cast and crew from performing. I finally succumbed and emailed Artistic Producer Anne Marie Mortenson if there were any potential of a cancelation. “The show,” she replied, “must go on.”

I just love theatre. And theatre people.

So, I, and a group of Kingstonians, trudged through the muck and yuck of an untimely February snowfall to Clergy Street, where nestled against the hustle and bustle of Kingston’s cityscape sits the cathedral-esque, historical St. Andrew’s Presbyterian. And, having never been inside prior, I very nearly missed the production doors situated to the back of the Church. Anne Marie did warn me to look for her sandwich board with the showbill. I’m just grateful another family turned up at the same time and knew where they were headed before I foolishly tried a different entrance and wound up missing the curtain.

The crew does an excellent job of plastering the hallways and stairwells with clearly identifiable arrows that lead you to the studio. The lingering smell of fresh coffee, and the welcoming coat racks greet you as you wind your way past classrooms and conference areas en masse.

However, once you locate the studio – the magic is in the Bottle Tree.

This space – dimly lit, and boasting the musical stylings of this production’s featured guest band, Lotus Shaker – sits four rows of theatre-seating. I could hardly contain my audible gasp as the studio unveiled itself; a little wonderment in an unassuming space. I took in the lights, the sound, the set. Each piece of the production was carefully curated. Clearly, The Witch and The Glitch promised a show, and were prepared to make good on it.

Ticket holders meandered in slowly, and jovially. The target age ranged from children to Seniors. Familiar hellos. Shaking of hands. The show got off to a late start (no doubt hindered by the weather), but as pianist (and music composer) Michael Capon took his place, the murmurings shushed and the fairytale unfolded.

Witch Hazel (I will always find this pun funny) took command of the audience in her curly locks, and witch’s garb (a brightly coloured frock with a high collar). Played by Shannon Donnelly (The Producers, The Sound of Music), Hazel is equal parts a hopeless romantic as she is hopelessly obsessed with concocting a spell that will produce her a lover. She opens the show pining for “Joey” and contemplates ending her life over his objections to her affections, before she stops herself mid-dramatic Juliet. And, as we soon learn is the norm in this one-act play, she breaks into song about it.

“Anything can be magic,” she sings to us. Hazel has a frog. And a bean. And a wart. And magic words. With a few quirks, and one hocus pocus later, Hazel successfully conjures up another potential suitor in Paragon – a self-righteous entity she eagerly plans to love.

Michael Donnelly (West Side Story, The Producers) creates a caricature of the self-affirmed, perfect man, Paragon. He is charismatic, and deliciously silly, infinitely proud of himself, and an obnoxious holy terror to Hazel who can’t seem convince him that she is a witch who created him, and not a mother who birthed him. Paragon’s deliriously funny and dim-witted demeanour elicits laughter from the audience, as he attempts to understand the situation at hand.

As the pair slip in out of musical numbers and into bantering back and forths, the comedic timing and one line zingers keeps the audience engaged and amused. “Paragon?” she asks. “Paragoing!” he retorts. The Donnelly’s natural chemistry is palpable; these roles are an exaggerated her vs him paradigm.

Frustrated, Hazel attempts yet another spell, and this time she is faced with what she had previously bestowed upon Joey (Daniel Pauley) as an attempt at vengeance for his denial of her. Chloe – The Glitch! – (Brayah Pickard) embodies all that Hazel had concocted in her cunning and conniving scheme of retaliation. And now that Chloe is a living, breathing creature, Hazel is not only forced to accept her actions, she also has to make amends by detangling the web she’s created for herself.

Through song, recognition, reconciliation, and humour, the cast works together to forge their fates and destinies with a bit of love, a bit of magic, and a giant affirmation.

Gord Love has written and directed a fable for adults, peppered with fairy stories we can all feel nostalgic about. His plot utilizes childlike ideologies that remain applicable well into our tomorrows. Love has seamlessly intertwined the incessant need to be loved and wanted with wonderment akin to Hans Christian Anderson. Every fairytale holds the key to the bridge between our inner child merging to our outer adult. And even as we may grow out of those leather-bound books with the yellowing pages, the message still resonates. We may grow up, but we’ll never be too grown to not need love; even those told in fairytales.

Shannon Donnelly is a master at commanding the stage and steering the multi-faceted plot, while elevating her supporting cast. She magnificently portrays Hazel as a “wicked old witch” with feelings, too. The juxtaposition of a “witchy woman” with human feelings could have fed the audience on that point alone. It was a marvelous performance to humanize a witch and consistently be aware of which witch Hazel was going to be or become at any given time, or during any given number.

Michael Donnelly’s performance was like a love letter to the character of Paragon. It was both over the top, while remaining perfectly suited. Paragon is seemingly a cultivation of the Gastons, and the Hercules; Joey Tribbianis and Fonzies stuffed into chainmail and delivered with just the right dash of zest. Donnelly allowed Paragon to take the lead; his quirks and vulnerabilities were offered opportunities to shine even when Paragon couldn’t have been blamed for at least attempting to exude ultimate confidence when the chips were down.

Brayah Pickard and Daniel Pauley played their characters in tandem – two conjured creatures created without caution, caught up in the emotions of a lonely witch. Their playfulness with each other, with the audience, and even with Michael Capon, lept off the stage. Their singing numbers were extraordinary; the blending of their voices hit all the right notes – in the music, and into the heart of their characters.

On a snowy night in February, a group of Kingstonian’s clambered into St. Andrew’s Presbyterian Church for a night of magic.

And we all left spellbound.

This play is part of The BOTTLE TREE STUDIO SERIES
Feb. 15 – Mar 3 Thurs-Sat nights 7:30pm and Sun matinees 2:30pm
The Bottle Tree Studio, St, Andrew’s Presbyterian Church
130 Clergy Street East, Kingston ON
Tickets: $25.79 ($20.00 + hst) plus handling fee
Details HERE.