Witchcraft is all around us! ‘They’ could be anyone: your neighbours, the person next to you on the bus, even the person next to you this very moment, according to Perth’s production of Bell, Book, and Candle.

Bell, Book, and Candle follows the comedic romance of a couple with more than simply the common crazy family to deal with. The original 1958 Broadway hit, written by John Van Druten, served as inspiration for T.V. shows and movies including the series Bewitched. Director Laurel Smith brought the enchanting play to Perth through the Classic Theatre Festival. Using seamless coordination, the company conveyed witches, warlocks, an author and a woefully ignorant fiancé to centre stage.

Seeming a typical New Yorker actress Erica Wood let the audience in on her character Gillian Holroyd’s secret (of being a witch) with casual remarks and embellished expressions. Wood interacted naturally with every prop, actor, and animal, on stage and off, using distinctly unique behaviours for each to develop real, relatable relationships. In particular was with her to-be-boyfriend, Shepherd (Shep) Henderson, presented by Scott Maudsley. A commanding presence on stage, Maudsley enters with a skilful illusion of seeming insignificance. In well commanded tones and gestures Maudsley developed his fluidly changing character to a strong and noble romantic.

Everyone knows a mischievous brother. Zach Counsil performed a perfect portrayal of Gillian’s smooth, scheming and sly brother Nicky. As another part of Gillian’s (Wood) magical family, actress Catherine Bruce used expressive tones in an eccentric voice paired with over dramatic mannerisms to bring Aunt Queenie Holroyd’s flamboyant character to the stage.

The magically-induced appearance of author Sidney Redlitch serves only as a catalyst for trouble in the, also magically-induced romance. Allan Price as Redlitch delivered his lines in a booming projection that grew bolder with each of the drinks Redlitch was constantly consuming.

Though not in the cast, a crystal clear character of Mrs. Depass was created through contribution of every character on stage. Composed solely of allusions and varied, but strongly displayed opinions, the invisible character of Mrs. Dupast became entangled with each and every trial and tribulation.

The audience was transported to 1950’s New York with the talent of set designer Margaret Coderre-Williams, and stage manager Natalie Gisele. Beautifully painted walls with elaborate décor framed the fully furnished apartment, as mystical surprises and revelations left an anticipating air surrounding every drawer and secret door.

In addition to the flawlessly collaborated scenes, costume designer, Sarah Waghorn went above and beyond in flaunting character’s miscellaneous personalities. The carefully composed apparel manifested changes from poor to rich and witch to human.

The Classic Theatre Festival presents the truly classical moral of the strength of love as it eventually triumphs, despite the meddling with magic and the interference of a nosey family of witches and warlocks, for a happy ending.