Promisingly, our master of ceremonies is the Devil himself (Nathan Armarkwei-Laryea), smiling and dapper in a sharp black suit, a neat little pair of horns tucked away beneath his trilby. Lulu Raczka’s first play Nothing, a set of interconnected monologues about sexual violence and popular culture which premiered in Edinburgh nine years ago, won The Sunday Times Playwriting Award. Miriam Buether’s set, lit with Hammer Horror gloomy glamour by Tim Lutkin, features chessboard parquet, leaded windows and gleaming silver and mahogany.

Women, Beware the Devil in London Tickets - WhatsOnStage Women, Beware the Devil in London Tickets - WhatsOnStage

But for all this gutsy introduction to the Prince of Darkness, Raczka’s play is less about devilish magic, and more about hanging onto an ancient house by any means, fair or foul.The aforementioned chap is the devil, no less, breaking the fourth wall with spoilers, and bemoaning the fact that, whereas once upon a time he was the accepted cause of the world’s ills, today “it’s structural, systemic, never evil. Join Dubheasa Lanipekun, Assistant Director on Women, Beware the Devil, for a practical insight into directing. A single, genuinely spine-tingling scene, reminding us that mental breakdown can be just as frightening as evil, is too isolated a moment of disturbance. Agnes’ revolutionary spirit flies lustily in the face of middle-class lickspittle convention and propriety, a defiance that is clumsily emphasised in a couple of half-baked fourth-wall-breaking monologues. When that comes under threat, she elicits the help of Agnes, a young servant suspected of witchcraft.

Women, Beware the Devil at the Almeida Theatre Glass reviews Women, Beware the Devil at the Almeida Theatre

Youth and fringe drama are important areas for us and we have reporters covering all the major theatre festivals. Raczka’s first play Nothing won the Sunday Times Playwriting Award in 2014: she tackles nothing less than ideas of good and evil here. Best, then, to enjoy this purely as a vaguely satirical romp, delivered by Goold with a flourish that, while it can’t disguise the play’s shortcomings, at least makes it worth goggling at. Leonard continues, “I know it’s a remake, but it would have gone in its own direction in season two.

Rosie Sheehy always brings an extraordinary gleam to the stage: it shows here as angry intelligence and ambition shot through with tremblings. It’s the 1640s and the Civil War is on the horizon: Puritanism is shedding fear and discontent amongst the people, and rumours of witches are the easiest way to explain the undercurrent of death, disease, and existential dread which permeates Britain. She will also persuade Edward to marry an eligible woman (even though the bride is from ‘trade’) and hopefully have a son. Director Rupert Goold really does create a world for us and then punctures it with too many present-day asides from the characters. But as these desires come to fruition – through Agnes’ increasingly bloody deals with the devil – it’s clear that neither are happy.

Women, Beware the Devil London Reviews and Tickets Women, Beware the Devil London Reviews and Tickets

But the characters themselves appear like a collection of extras from The Rocky Horror Picture Show or The Addams Family.You may also opt to downgrade to Standard Digital, a robust journalistic offering that fulfils many user’s needs. For full information about how to book for our access performances please visit our Access For All page. The play begins previews at the Almeida Theatre on 11 February, with an opening night on 22 February, and performances to 25 March. It’s this attitude which makes Women, Beware the Devil more than a typical modern feminist tale – this is not a girl-boss retelling of Dr Faustus . It’s disappointing [when shows are cancelled], but the longer I’ve been in this job, the more appreciative I’ve become; and you have to be, to stay sane.