Enchanting New Musical Comedy, ‘CONFESSIONS OF A RETIRED WITCH,’ Casts an Unforgettable Spell

If you think you know all about witches, think again! You’re about meet 250-year-young Angelina Max, a force of nature who can screw up like a human, exact revenge like a witch, but is also funny, loving and kind. And about to sing and dance her way into your heart.

Angelina is played by award-winning Broadway actress D’Jamin Bartlett who also boasts plenty of TV credits, including playing evil “Eva” in my former guilty-pleasure soap, One Life to Live. (I admit to going all fangirl on her after the performance.) With encouragement from Harold Prince, Bartlett went on to write CONFESSIONS OF A RETIRED WITCH, with music and lyrics by Emmy Award-winning composer, pianist, vocalist and trumpet player, Mark Bornfield. And we get to experience all his musical talents live, as Bornfield plays a synthesizer keyboard and trumpet, along with bassist Chris Bonelli, throughout the show. Where? Upstairs at The Studio at Mizner Park in Boca. But you need to hurry. Final performance is Saturday, March 8.

With their witch’s coven set in Miami, Bartlett and Bornfield felt it was only right to premiere their show in South Florida. Having secured the experienced, professional creative team of director Barry Zieger, choreographer Judi Mark, and stage manager Kevin Dean, they went on to enlist two of our regions most notable and popular musical theater actors to play a variety of roles: a creative challenge they simply couldn’t refuse. In fact, they did such a great job at flipping personas, I frankly had to keep reminding myself that yes, this was the same actor, in another character’s clothing (and personality, even hair). 

Carbonell Award-winner Margot Moreland makes frequent, eloquent appearances as Angelina’s practical best-witch-friend Selena, sensitive office manager Ms. Sternberg, and concerned future mother-in-law of Angelina’s daughter Celeste, Sadie Kaplan. Popular local favorite, James A. Skiba, alternates between cold and uncompromising psychiatrist Dr. Bragen, and shy, unassuming T.C. Max – anointed King of the Miami Covens (and soon to be Angelina’s husband and forever love). He even performs one strikingly lascivious song-and-dance number in the guise of a Rasputin-like evil warlock.

Through it all, we travel with Angelina across centuries of time (witches tend to be long-lived) while she shares the beautiful, magical episodes of her life. (In contrast to her nasty current situation at Sunny Smiles Retirement Home where she’s constantly harassed to stay inside at night (and not sing loudly to the moon), and to stop scaring the residents by insisting she’s a witch while dressing and acting the part.

It appears Angelina got herself into this fix by a miss-spell; all she wants is to “vanish” and join her husband T.C in the nirvana of witch-and-warlock afterlife. But because she’s the last remaining witch of a powerful Miami coven and can’t pass her bloodline on to her daughter because she’d forsaken witchcraft to marry “a nice Jewish boy” (only to die at the young age of 106), Angelina must pass her witch’s hat, broomstick, and magic on to a deserving mortal before she’s allowed to vanish. And the clock is ticking.

I don’t see why she has a problem finding a convert. She certainly makes the witch’s life sound enticing. The show opens to a picturesque green clearing in an idyllic forest – a scenic projection that feels so real, it even includes the occasional scampering black cat. A cauldron in the corner sits near a “Parking for Witches Only” sign that includes a logo of the typical, flying witch on a broomstick past the moon. Though I must say Angelina’s robes are far more extravagant than any Halloween garb, as is her fancy, high-peaked witch’s hat and silver-streamer extravaganza of a broom. Credit for bringing us to this magical place goes to Omar Robau for set design, props, and the program’s whimsical poster. With lighting design by Liam Regan, sound design by Gerry Regan and costume coordination by D’Jamin Bartlett. 

But once we “Tap-tap-tap-tap Into the Power” of the opening song – a rousing jazzy number featuring the fabulously clear, higher contralto vocals of Angelina (Bartlett) and astounding, deeper variations by Serena (Moreland) – in which the witches proclaim their joy in casting spells, they have us completely in their thrall. Especially as live accompaniment on piano synthesizer and trumpet by renowned musical composer and arranger Mark Bornfield (with additional arrangements by Dan Prado, all backed by  Chris Bonelli on bass guitar) serves as a rare treat when so many shows, big and small, make do with prerecorded scores. 

The next number features Angelina’s interview with Dr. Bragen (James Skiba) and his vain attempt to get her to comply with their house rules under threat of transfer to assisted living where she’d be under constant supervision. Skiba’s brash “Whatta We Gunna Do With Mrs. Max” echoes, in premise if not exactly in form, The Sound of Music’s “How Do You Solve a Problem Like Maria.” In fact, many of Bornfield’s original, beautifully composed songs sound like they could have been lifted from popular contemporary or classical musicals. This isn’t a criticism, as they are all his own work, but rather a compliment. I’m saying they have the “feel” of musical greats – just as fully realized, and compositionally and lyrically first rate.  

When Dr. Bragen asks about Angelina’s family, it brings back memories of her daughter, Celeste, and how both Angelina and the mortal boyfriend’s mother felt it would be best if they break up. But it turns out, even a witch and Jewish mother are no match against true love. Mrs. Kaplan (Margot Moreland) invites Angelina to join the family at her Passover Seder, singing, “Welcome to Sadie’s Seder. It’s homemade, I never cater.” Angelina meets matzoh-ball wielding Sadie in her 1950s kitchen (a realistic backdrop projection) in a humorous scene that becomes touching when the women join forces in singing, “A warlock and a Jew must all agree: we’re doing it for the kids!” 

Back to the present, Angelina is still desperate for help in finding a deserving mortal to pass on her broomstick. She throws a script at a passing young man and instructs him to visit a psychic. Under a “Psychics-R-Us” sign, sits suitably dressed Margot Moreland, playing a “performative” psychic who provides typical advice and never conjured up a ghost in her life. But this time’s she’s visited by a true apparition. Dashing and debonair James Skiba – dressed like a 1940s idol in all black, fedora, and white jacket – dances onto the stage as the powerful, evil warlock Angelina had summoned to help her vanish into the higher realm. He won’t. But he will entrance us with one of the show’s most memorable numbers, “There’s No Disputin’ The Rasputin in Me.” Even Selena can’t resist this sexy bad boy, and takes off with him at song’s end.

Turning the clock, and mood, we return to advice from on high by Angelina’s forever loving hubby, T.C. (Skiba again, who rocks all the male roles). Stars sparkle in the sky as we enjoy a rapturous “Listen to the Nightsong.” Then it’s back to their memorable Halloween night in Miami when T.C. is crowned king of the Miami covens, and falls in love with Angelina. When a dejected Angelina calls out to the spirit of her husband for help, lamenting, “Nobody Sings to the Moon Anymore,” like long-committed mortals who renew their vows, he proposes to her once again, cementing his eternal love with “The One in Love with You.” And continues to advise her that the person she’s looking for (a mortal witch successor) might be right in front of her eyes. 

I have a feeling you’ll guess who that lucky mortal is, as I did, much before Angelina. When she finds Angelina’s witch’s hat and broom left by her desk, she’s thrilled, reveling in her newfound powers with, “I’ll Have It All.” The musical ends in all three actors celebrating the witches’ life onstage with the joyous rhythmic buildup of “There’s a Place in Miami.” 

We’re also happy to be in Boca as the first, appreciative audience of this well-crafted and extremely entertaining world premiere. That, like a witch’s brew, isn’t your typical, large-cast musical concoction but bubbles over with great live music and an irrepressible ensemble that holds us in their spell from start to finish. 

Don’t miss your chance to be first to experience this delightful, magical, and beautifully presented musical comedy.  But you’ll need to fly on over fast because CONFESSIONS OF A RETIRED WITCH appears in Boca only through March 8.  Now playing at The Studio at Mizner Park, 201 Plaza Real (2nd floor), Boca Raton 33432. For tickets, head to www.ticketmaster.com (search for Confessions) or email tickets@thestudioatmiznerpark.com.