Coven musical at the Kiln Theatre – review

The auspices have been good for Rebecca Brewer and Daisy Chute’s new musical Coven. Eight years in the making, the show extended into 2026 before it even began previews. With a great all-female cast and an inspiring story of bravery amid despair, it has the potential to be a bewitching hit, but often feels like a work-in-progress.

Inspired by the 1612 Pendle Witch Trials, we follow Jenet, a nine-year-old girl who accuses her own family of witchcraft, leading to their execution. Twenty years later, she finds herself accused of the same crime. Awaiting trial, her cellmates lead her to confront the misogyny and social attitudes that led to her situation.

With reminders of Six, this is a group of historical women reclaiming their own narratives amid a society riven with gross misogyny. Unlike Six, there are 26 numbers and therein lies one issue; the show could lose at least half an hour without diluting its message or impact.

Another is that too much is crammed in, with some undeveloped, overlapping narratives and frequent repetition of the central message of injustice. There is betrayal, self-sacrifice, victim-blaming and manipulation. The show takes very obvious aim at the male institutions that condemn and control women, but the tone, especially in the second half, feels unfocused and uneven.

Gabrielle Brooks is a standout as Jenet, with a clear voice that rocks the foundations of the theatre and a deep understanding of her character’s story arc. As pregnant Rose, Lauryn Redding is a wryly funny and combative character, who shows flashes of vulnerability. There is a touching connection between her and Penny Layden as her hardworking earth mother Martha, who sacrifices herself for her daughter.

Allyson Ava-Brown is both spirited and caring as midwife Nell. Shiloh Coke is convincing as pious Frances and Jacinta Whyte is strong and calm as spiritual healer Maggie.

The excellent Diana Vickers feels underused; she is creepily lascivious as jailor Covell, curiously dressed like a 1950s bus conductor. She also has great fun as Edmund, performing a parody rap to convict Jenet before happily receiving a lollipop as reward.

Performed by a talented on-stage band, the music is varied; ranging from folk; to bluegrass; to rock. There are some standout tracks, such the cleverly choreographed and smartly sung “Witch” and “Care”, a moving track about midwives, birth and bodily autonomy which features melodic harmonies. “Burn Our Bodies” is an incredibly catchy and powerfully building anthem of protest and resilience. It’s a shame this one doesn’t close the show.

Director Miranda Cromwell, along with choreographer Shelley Maxwell, bring pace and a huge amount of movement to the show. There is good use of the ensemble and their combined vocal strengths. Jasmine Strong’s set has precarious steps up to a foreboding stone platform, with the jail door beneath. Organic, earthy colours and tones dominate, along with a haunting use of shadow, and lots of atmospheric dry ice.

With an excellent cast, some anthemic music and thought-provoking themes, Coven needs tighter focus, but with work it has the potential to cast a spell.