Coven
06 November 2025
Kiln Theatre
3.0 out of 5.0 stars
Coven is a brand new musical, currently premiering at the Kiln Theatre and running until 17th January. The show revolves around the Pendle witch trials, one of the most heavily documented witch trials in the UK. Drawing names and stories from real history, Coven seeks to bring the story of wild accusations and sham trials to the stage.
In 1612, in Pendle, Lancashire, 9 year old Jenet accuses her entire family of witchcraft, leading to every one of them being hanged by the neck. 21 years later she finds herself in a dingy cell, accused herself and helpless to fight against the manipulative methods of the witch finders. She is confronted with her own history of being a tool to convict her closest family through several other women who have been accused of witchcraft, desperately fighting against what seems to be a sealed fate.
The all-women cast is very strong, multi-roleing and impressing with their vocal talents. Coven tells the story of several of the accused women now known as the Pendle Witches, gently unfolding the narrative with a delicate balance. Drawing from real life, it is a well researched piece that seeks to give voice to those who were bereft of voices four hundred years ago, touching on mass-hysteria and abuses of power.
A small stage with several steps to create higher levels stands in for a prison cell, a court room, and any other settings needed in between. It feels oppressively small, barely giving the cast space to move around. Coven is definitely more suited to a larger stage where it can play with its characters a bit more. Still, within the confines of its current home, it plays very well with dark and dreary settings, utilising scents to deepen the experience, and fully inhabiting the theatre with large voices.
A good variety of songs features throughout the musical, though there is a lack of a strong through-thread in terms of style, mostly relying on narrative songs that suit their respective scenes but aren’t particularly memorable. Lauryn Redding’s Rose is a huge stand-out voice, letting her voice travel through the auditorium beautifully, whether it’s a soft and mournful song, or a strong belter full of power. Gabrielle Brooks’ Jenet impresses with a large vocal range and consistently strong performances within a character that goes through huge emotional turmoil while she is faced with the consequences of her own actions.
This musical feels like it is still in development, needing a little tidying up and some shortening here and there. Especially the ending is odd, presenting three strong closing songs in succession, surprising the audience repeatedly with more content when it seemed like a perfect closing song had already happened. The last song in particular feels quite out of place, speaking on fighting back and taking back society when this does not align with the story told within the show.
There are several moments that don’t seem to quite fit, including mention of the women victimised by the witch trials not having names, not being remembered, when the particular women featured in the story are very well documented and named, leading to a bit of a discordant atmosphere towards the end of the show. Still, there is a strong basis to work with that can become a brilliant musical with just a little more work and attention to detail.
