Joanna Carrick, writer, and director of The Ungodly at Southwark Playhouse Borough

As we move towards winter with its dark nights; Halloween, or to give it its Celtic name, Samhain; is our first festival to celebrate ‘as the dead walk the earth’ according to ancient myths.  Witches have become a part of this festival, undoubtedly due to the witch trials, and the many ‘witch’ deaths.  The Ungodly delves into the mid-17^th century era of the witch trials, focusing upon Witchfinder General, Matthew Hopkins’ stepsister Susan Edwards.  North West End UK’s Deputy Editor, Caroline Worswick,  discussed the witch trials with the play’s writer and director Joanna Carrick.

The Ungodly begins its story in 1645, set in the village of Mistley, on the Stour Estuary.  Can you explain how the Witch Trials were introduced into 17^th-century England?

It was a time of massive uncertainty, conflict, and hardship. Civil war caused a breakdown in local law and order and people were looking for reasons for their hardships, including crop failure, the death of livestock and the death of babies and young children. East Anglia was a particularly fanatically Puritan place and a very misogynistic society. This provided the perfect conditions for rumours and fears to escalate and accusations to be made.

If one has read about, or seen plays on the subject of Witch Trials, the name of Matthew Hopkins may be familiar.  Your play focuses on Hopkins’ stepsister Susan Edwards, how does she fit into witch trial history?

Susan was a real person and her father, who was the vicar of Mistley, married Matthew Hopkins widowed mother. I was incredibly excited to discover this family connection. Susan was one of the women who testified against the women accused by Hopkins. She believed that they had used witchcraft to cause the death of her baby son. Susan and her husband Richard were very close to Hopkins and primary source testimony shows they were working together. Susan lost her first four babies and her grief and desire for answers played an important part in fuelling the persecution.

Witch hunts were not limited to England, the famous witch trials at Salem allegedly used the witch hunting methods developed by Hopkins.  It is interesting to see that during the 17^th-century this paranoia spread to other countries, albeit several years later.  Do you feel that this type of paranoia still exists and spreads to other countries today?

There are many modern parallels to be drawn and the escalation of conspiracy theories through the internet and social media is one of them. Of course, paranoia can spread much faster globally today, but this story highlights the dangers of extremist ideology taking hold and multiplying.

Why do you feel that women in particular were targeted by the establishment during the 17^th-century?

The Puritan movement had increased the levels of misogyny in everyday life. After the reformation in the 16^th century and the rejection of Catholicism, the worship of the Virgin Mary was massively reduced and the Puritan faith focused very much on the fall of Eve and on women as sinners who tempt men to their downfall. The 16^th century also celebrated the powerful female figurehead of Queen Elizabeth 1^st, whereas the 17^th century was male dominated in every way. Poor, helpless women were an easy target and scapegoat, and people were also suspicious of women with healing powers or a desire to read the Bible and think for themselves.

There was so much change during the 17^th-century resulting from The English Civil Wars, the Bubonic Plague, and the Fire of London, especially in England’s capital city, the people had many challenges to overcome.  With the recent changes to the Government in the UK, Brexit, and the US elections looming, do you feel that we are still as polarised within society both nationally and globally, as we were in the 17^th-century?

I think the last decade has heightened polarisation in society and when I was writing the play these parallels became clear to me. I think the relevance of the play to modern life is one of its strengths.

The play is being shown at Southwark Playhouse Borough over the Halloween period.  Many children’s books still portray witches as being evil, should we questioning whether this is morally correct, or should we just put it down to inventive storytelling?

People in 17^th century believed in witchcraft and the works of Satan. They thought they were fighting against the forces of evil. Historically we can see that there is of course absolutely no truth in these beliefs. However, the witches in children’s’ stories belong to a long tradition of magic and fantasy. These stories are a vital part of our culture and creative and emotional development. Stories without villains and without a struggle between the forces of good and the forces of evil would be very dull. I think we should be very wary of any attempt to censor them or edit them out.

As well as writing and directing plays, you are Artistic Director of Red Rose Chain theatre company.  Tell us about some of the company’s previous projects, and future plans?

Red Rose Chain has a varied programme of work, producing professional theatre and working with an amazing community of disabled and disadvantaged participants. Past projects range from a run of my play Fallen in Love, about Anne Boleyn and her brother at The Tower of London, to creating theatre with women moving away from street prostitution after the Ipswich murders. We have created theatre in prisons which has had a life changing impact and large-scale outdoor Shakespeare productions which have introduced the arts to massive new audiences.  Next, I am directing my new adaptation of Pinocchio for Christmas at the Avenue Theatre in Ipswich and in the spring The Ungodly is transferring off-Broadway. Next Summer I will be directing a new Shakespeare production for Theatre in the Forest at Sutton Hoo. I have also recently begun research on Savonarola and The Bonfire of the Vanities in preparation for writing a new play next year.
THE UNGODLY runs at Southwark Playhouse Borough from 23rd October to the 17th November 2024.  To book tickets and for more information please visit https://southwarkplayhouse.co.uk

BIOGRAPHY

Joanna Carrick is Red Rose Chain Theatre’s Artistic Director and founder of the company. Carrick directs Red Rose Chain’s productions and is celebrated for re-inventing classic stories and amazing interpretations of Shakespeare’s plays at Theatre in the Forest.

She is also a playwright and has written many historical plays, including her acclaimed ‘Tudor Trilogy.’ Carrick leads Red Rose Chain’s community workshops and has many years’ experience of working with disadvantaged groups on life changing projects and developing the creative skills of young artists.

Carrick was recently listed in the 100 most influential Suffolk women.