Review: 'Bell, Book and Candle' puts you under its spell

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Ann Gundersheimer, left, and Amanda Heisey in a scene from the 1950s romantic comedy "Bell, Book & Candle" at the Players Centre. DON DALY PHOTO/PLAYERS CENTRE

Ann Gundersheimer, left, and Amanda Heisey in a scene from the 1950s romantic comedy "Bell, Book & Candle" at the Players Centre. DON DALY PHOTO/PLAYERS CENTRE

There’s a real live cat in the new Players Centre production of “Bell, Book and Candle.” I know that’s not important, but the feline's good behavior on stage was the first thing that impressed me about the show during its first preview performance Wednesday night.

 

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Amanda Heisey makes one of her multiple phone calls in the production of '"Bell, Book and Candle" at the Players Centre for the Performing Arts. DON DALY PHOTO/PLAYERS CENTRE

“Bell, Book and Candle” is an old (1958), familiar romantic comedy play by John Van Druten, predictable but enjoyable nonetheless. Gillian Holroyd (Amanda Heisey) is a witch living in New York City in the 1950s who decides to put a love spell on her college rival’s fiance, Shepherd Henderson (Craig Weiskerger). Things get complicated when she starts to fall for him, which poses a problem: she will lose her powers if she falls in love.

The show, directed by Helen Holliday, begins with Gillian’s first clandestine display of magic — opening a chest with a single gesture. Lights flicker at the characters’ whims and doors open periodically, all so well-staged it seemed easy. Throughout the show, I found myself wanting more visual magic to watch, rather than just hearing various characters talk about spells they placed
on other people.
Heisey certainly grew into her role as Gillian, beginning over-the-top sultry but toning it down just enough to capture Gillian’s powerful charm. Weiskerger’s interpretation of “Shep” was so ordinary and casual it was a perfect foil to the witches’ bizarre schemes. While their chemistry kept the plot interesting, some of the dialogue dragged, and dependence on phone calls as a scene-changing device quickly grew old.

Amanda Heisey, left, John Tyler and Tanner Holman in "Bell, Book and Candle" at the Players Centre for the Performing Arts. DON DALY PHOTO/PLAYERS CENTRE

Amanda Heisey, left, John Tyler and Tanner Holman in "Bell, Book and Candle" at the Players Centre for the Performing Arts. DON DALY PHOTO/PLAYERS CENTRE

There was a refreshing change of pace whenever Tanner Holman arrives on stage as Gillian’s charismatic brother, Nicky. He carried the show’s comedy element almost single-handedly, immediately brightening up the tension between characters when he appeared. Their “Auntie,” Miss Holroyd (played by Ann Gundersheimer) rounded out the trio of witches with her wacky clothes and gleeful meddling in Gillian’s struggles. But John

 

Tyler as author Sidney Redlitch by far had the funniest role, proving that there is no such thing as a small part in a show with his two hilarious scene-stealing

Amanda Heisey, right, plays a witch who casts a romantic spell on Craig Weisskerger in John van Druten's "Bell, Book & Candle" at the Players Centre. DON DALY PHOTO/PLAYERS CENTRE

Amanda Heisey, right, plays a witch who casts a romantic spell on Craig Weisskerger in John van Druten's "Bell, Book & Candle" at the Players Centre. DON DALY PHOTO/PLAYERS CENTRE

appearances in Gillian’s apartment.

 

The set designed by Jeffrey Weber was a simple living room, swapped with accessories to show passage of time, and it was pleasant to see multiple authentic 1950s style fashions (designed by Jared E. Walker) on Gillian, which helped nestle the show in its period. Slow crooning songs about witches eased transitions between scenes, completing the atmosphere.

Spells included real flames and the burning of paper, a delight to watch live, and I was surprised by the poignancy of certain interactions between Gillian and Shep. Overall, it’s an enjoyable watch that offers a nostalgic fondness and with just a dash of fresh perspective to its spell.

 

Last modified: August 11, 2016
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