BOG WITCH
Soho Theatre Walthamstow
★★★½
“As soulfully tender as it is wickedly funny”
Witchiness is being reclaimed, not least by Bryony Kimmings’ ‘Bog Witch’. Kimmings’ first solo show in over five years is a hilarious yet heartfelt meditation on the cost of uprooting your life to save the planet. But for a show promising reconnection, it feels a little untethered – a rich seed that’s yet to fully bloom.
Bryony is starting a new life in the country. Forget ponies and polo: this is a permaculture patch in the middle of nowhere which her whole family loves except her. Severed from the comforts of capitalist suburbia, she’s forced to confront isolation, disconnection and rising eco-anxiety alone. In her quest to save the planet, how much of herself will she lose?
Written, directed and performed by Bryony Kimmings, ‘Bog Witch’ is a raw one-woman wrestle with the weight of saving the world. From isolation and climate anxiety to animal death and even pregnancy loss, Kimmings delves into a vivid spectrum of human experience with fearless honesty. As soulfully tender as it is wickedly funny, it’s woven with a vulnerability that beckons you into its mossy heart. Yet, it feels uneven. A playful, punchy first half gives way to an emotional but meandering second: a Wizard of Oz-esque crisis feels drawn out, and a plodding epilogue dulls the final flourish. Furthermore, the dramatic threads of soul holes and friendships fail to resolve, fizzling out with a lacklustre hug. There’s undeniable magic here, but the spell feels unfinished.
Kimmings’ direction and Francesca Murray-Fuentes’ co-direction is bold and inventive, constructing and then dismantling the set with symbolic flair. The striking and sometimes comical use of projections cleverly unites the sprawling stage elements. The disembodied voiceover adds a wry layer of self-commentary (poor Bryony). Kimmings’ storytelling is compelling, propelling the first half with energy and momentum. However, the second half loses its rhythm, especially the epilogue’s use of oversized spell book which weighs things down just when they should be building.
Kimmings commands the stage in this one-woman whirlwind of physical theatre, music, and song, a performance brimming with wit, courage, and emotional depth. There’s a witchy magic to her vocals: raw and evocative, even if not technically flawless. Though the enchantment wavers at times as repeated line slips – however cleverly handled – chip away at the flow.
Tom Parkinson’s score is rich, varied and atmospherically spot-on, shifting seamlessly from jaunty pagan folk to pulsing synth-driven soundscapes. Each choice amplifies the emotional pulse of the moment and helps conjure this strange, elemental world with satisfying precision.
Guy Hoare’s lighting design is strikingly beautiful, with sweeping transitions between expansive grandeur and piercing solitude. One of the most arresting touches is the colour draining from a scene as reality (or anxiety) kicks in.
Lewis Gibson’s sound design is dynamic and well-integrated, punctuating the performance with sardonic voiceovers and conjuring storms of sonic intensity. It complements the visual and narrative elements with flair despite sometimes overwhelming Kimmings’ vocals. Finetuning the balance could further elevate these moments.
Tom Rogers’ set and costume design subtly evoke the bleakness of Kimmings’ world. Dead, limbless trees hem her in, and even the brightest summer dress is layered over a stark black uniform. Joy is always undercut by something darker, a finely tuned reflection of the show’s emotional core.
‘Bog Witch’ delivers a compelling and emotionally resonant evening – visually rich, evocatively sincere, and unmistakably Kimmings. Despite feeling unfinished, it has an undeniable magic.
BOG WITCH
Soho Theatre Walthamstow
Reviewed on 14th October 2025
by Hannah Bothelton
Photography by Rosie Powell
Previously reviewed at Soho Theatre venues:
MY ENGLISH PERSIAN KITCHEN | ★★★★ | October 2025
ENGLISH KINGS KILLING FOREIGNERS | ★★★½ | September 2025
REALLY GOOD EXPOSURE | ★★★★ | September 2025
JUSTIN VIVIAN BOND: SEX WITH STRANGERS | ★★★★★ | July 2025
ALEX KEALY: THE FEAR | ★★★★ | June 2025
KIERAN HODGSON: VOICE OF AMERICA | ★★★★★ | June 2025
HOUSE OF LIFE | ★★★★★ | May 2025
JORDAN GRAY: IS THAT A C*CK IN YOUR POCKET, OR ARE YOU JUST HERE TO KILL ME? | ★★★★★ | May 2025
WHAT IF THEY ATE THE BABY? | ★★★★★ | March 2025
WEATHER GIRL | ★★★½ | March 2025
