Martha Tallow is the outspoken Wench of the title: too loud, too sexually empowered, too able to be fully and unapologetically herself. And in the 17th century, the powers that be had an interesting way of keeping these upstart women in check: by calling them witches. Yet this Martha accepts her fate with feisty resolve, turning their words back to them, holding a mirror up to their own hypocrisy and hidden agenda of repression of anything they deem unnatural: which Martha astutely points out is just another way of saying they don’t like the look of it.
If you’re expecting just another cabaret act with this show, you soon realise you’ve got far more than you bargained for. This is a fully realised musical, with stunning songs, a brilliant story and a unique performer who is able to strike that beautiful balance between sassy and cheeky, between poignant and truthful. It’s a breath-taking tightrope of dipping between having us rolling with laughter and then pausing to take stock and silently nod. There’s a lot of tech in the show as well, with gorgeous costumes and wigs to die for, and if you’ve never experienced someone singing their cheeky heart out while in stocks, then look no further.
It’s the writing here that surprises the most and surpasses every expectation. Felix le Freak has written something so extraordinary that nobody else has done, and it’s done with singular wit, fierce intelligence, feisty sarcasm and their own inimitable style. It’s rich, lyrical and beautiful. It’s uproariously funny and at the same time deliciously clever. And on this particular evening with tech challenges, the way they included this and ad libbed was done with such aplomb it’s something other performers could learn from: instead of feeling like something had gone wrong, we left feeling we’d got something extra.
Felix le Freak is a stunning and gifted performer and holds the audience in the palm of their hand throughout, and Martha Tallow is a wonderful creation. As she takes us through her lifetimes, we travel with her to different places, where she encounters the same prejudices, the same attempted suppression and even from the same metaphorical man. It helps us reflect on how much things have changed both globally, with laws, with societal expectation, or in personal relationships: or hasn’t, in 400 years. Maybe they can’t hang the witches any more, but maybe there are other equally loathsome fates. The fact that she still has to prove herself with almost the identical challenge in a gap of 400 years speaks volumes as to how much we’ve grown as a society in many aspects.
The only issue with this show is that it should be seen by bigger crowds: it deserves a full theatre filled with hundreds of people as its uniqueness is something we could all do with. It could even be imagined with more cast, eight or so other multi-rolling players who assist in telling the story, and keep it within the prism of Felix’s creation of Martha and cabaret style. There’s nothing else like this, and the way ‘The Water Decides’ opening song returns to us at the end with a slightly amended refrain is pure joy to experience. With hitches and some missing aspects ironed out, this could easily become a five star worthy show. This is one not to miss: even if you just want to see a musical with the word porcine in it. If you’re looking for fresh, inventive theatre to make you laugh and to keep on thinking about long after the show has finished, this is for you.
The Ironworks, 11 May 2026
Wench runs 18, 19 May 26 and in Edinburgh Fringe 2026
