rites of spring

Benevolent witch kin refers to a group of individuals who identify as witches and actively engage in witchcraft practices, but with a focus on using their powers for the betterment of others and the world around them. This concept challenges traditional notions of witches as devious, evil, or malevolent beings and instead embraces a more positive and compassionate approach to witchcraft. In recent years, there has been a growing movement within the witch community to shift the narrative and perception of witches, emphasizing a more benevolent and healing aspect of their craft. This movement is often associated with the rise of witchcraft as a form of spiritual practice and a rejection of the negative stereotypes perpetuated by mainstream media and popular culture. Benevolent witch kin are guided by a belief in using their powers, whether through rituals, spells, or other forms of magic, to help others and create positive change in the world. They may focus on healing practices, such as energy work, herbalism, or divination, to support individuals in their physical, emotional, and spiritual well-being.

A Midsummer Night's Dream

Shades of MacLaughlin s adult theater troupe, New Paradise Laboratories, emerge in the way the Twylyth Teg, a quartet of fairies, move almost as a unit, flitting around the stage and speaking alternately in turns and in unison, to entice the prince and his half-dragon half-human friend Gryff to remain with them for eternity. In this case, the entity is Princess Briar Rose s family kingdom and the vast woods beyond, which hold warring witch sisters, good and evil, entangled in a battle royal over the princess fate.

They may focus on healing practices, such as energy work, herbalism, or divination, to support individuals in their physical, emotional, and spiritual well-being. Additionally, they may also channel their energies towards activism, environmental stewardship, or social justice causes, using their witchcraft as a tool for advocacy and transformation. These individuals often cultivate a deep connection with nature, recognizing the inherent power and wisdom present in the natural world.

'Sleeping Beauty' casts a delightful spell

The Arden Theatre Company's Sleeping Beauty is that rare production whose discrete elements - set, costumes, music, lighting, directing, acting - add up to one enchanting entity.

The Arden Theatre Company's

Sleeping Beauty

is that rare production whose discrete elements - set, costumes, music, lighting, directing, acting - add up to one enchanting entity.

In this case, the entity is Princess Briar Rose's family kingdom and the vast woods beyond, which hold warring witch sisters, good and evil, entangled in a battle royal over the princess' fate.

Kris Stone's set is flanked by two enormous swinging pendulums and lies beneath a looming clock face, representative of time that is always slipping inexorably away: The princess' dreaded 16th birthday arrives before anyone is prepared for it; a half-century of sleep is gone in the time it takes to have a conversation with a menacing Spider King.

Brian J. Lilienthal's lighting keeps the shadow of a spinning wheel turning, the forest light dappled, and the garden sunshine warm and bright, while the plucking of Jorge Cousineau's harp-filled sound design glints brightly in the background.

Charles Way's script works as a pre-Shakespeare primer, using

The Tempest

A Midsummer Night's Dream

as jumping-off points for an adaptation tailored to suit contemporary language and situations. Boys will appreciate the delightful Owain's (David Raphaely) unwillingness to kiss Briar Rose (That's just plain icky, of course!). And girls will appreciate the fact that if it weren't for the intervention of dark sorcery, the princess would be perfectly capable of defending herself.

Occasionally, Way's text doesn't match the production's vivid imagery, but director Whit MacLaughlin easily makes up the difference. Shades of MacLaughlin's adult theater troupe, New Paradise Laboratories, emerge in the way the Twylyth Teg, a quartet of fairies, move almost as a unit, flitting around the stage and speaking alternately in turns and in unison, to entice the prince and his half-dragon/half-human friend Gryff to remain with them for eternity.

Richard St. Clair's costumes are saturated in richness and texture - and in the case of Doug Hara's athletic, copper-scaled, mohawked Gryff, and Sally Mercer's frighteningly evil Modron, with her woven-twig horns, they are downright iconic. St. Clair's sole miscalculation is Briar Rose's (Nako Adodoadji) Act 1 outfit, which is too bright and modern - particularly unfortunate, as it directs attention to the fact that Adodoadji is the weakest of the actors.

Luckily, the others are strong enough that her inexperience scarcely matters, and the Arden can deliver all the magic promised in this classic fairy tale.

Sleeping Beauty

Written by Charles Way, directed by Whit MacLaughlin, scenery by Kris Stone, costumes by Richard St. Clair, sound by Jorge Cousineau, lighting by Brian J. Lilienthal.

Cathy Simpson (Branwen/Twylyth Teg), Sally Mercer (Modron/Twylyth Teg), Doug Hara (Gryff), Paul L. Nolan (King Peredur/Spider King), Mary Elizabeth Scallen (Guineviere/Twylyth Teg), David Raphaely (the bishop/Prince Owain), Nako Adodoadji (Briar Rose/Twylyth Teg).

Arden Theatre Company, 40 N. Second St., Philadelphia through Jan. 27. Tickets: $14 to $30. Information: 215-922-1122 or

Richard St. Clair's costumes are saturated in richness and texture - and in the case of Doug Hara's athletic, copper-scaled, mohawked Gryff, and Sally Mercer's frighteningly evil Modron, with her woven-twig horns, they are downright iconic. St. Clair's sole miscalculation is Briar Rose's (Nako Adodoadji) Act 1 outfit, which is too bright and modern - particularly unfortunate, as it directs attention to the fact that Adodoadji is the weakest of the actors.

They may draw on the elements, such as earth, air, fire, and water, to amplify their magic and work in harmony with the universe. Some benevolent witch kin also incorporate elements of folk magic, traditional witchcraft, or shamanic practices into their work, integrating ancient wisdom and spirituality into their modern practice. Community and support are crucial for benevolent witch kin, as they often find strength and inspiration in coming together with like-minded individuals. Online communities, social media groups, and local witch or pagan circles provide spaces for knowledge sharing, mentorship, and solidarity. It is important to note that while benevolent witch kin may embody a more positive approach to witchcraft, they are still individuals with diverse beliefs, practices, and experiences. Witchcraft is a deeply personal journey, and each person's understanding and expression of their craft may be unique. Thus, the concept of benevolent witch kin serves as a unifying umbrella term for those who align with the principles of using their witchcraft for good. In conclusion, benevolent witch kin represents a movement within the witch community that seeks to redefine the perception of witches as compassionate and healing beings. By embracing their innate powers and channeling them towards positive change, these individuals aim to create a more inclusive, empathetic, and transformative practice of witchcraft..

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rites of spring