The screenwriter and playwright John Logan (Gladiator, Skyfall) has delved into the making of Witchfinder General for his new play Double Feature.

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“Michael Reeves”, says Logan, “was a cineaste of the highest order – he lived and breathed cinema. He didn’t read books, didn’t listen to music. He woke up every morning to watch and learn about movies. He wanted to be on the cutting edge of his medium and do something provocative.”

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Witchfinder General has gained a cult status, especially over here, as seriously strong meat – a severe, uncompromising drama about the consequences of violence and the hypocrisy of moral crusades. As Logan admits, American audiences haven’t always fully understood it. “Because they don’t understand British history, they don’t know about the Battle of Naseby, and they’re not quite sure who Oliver Cromwell was.”

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The tragedy of Reeves’s career was going out on such a high. Not only is Witchfinder General one of the greatest British genre pieces of that or any period, but it’s also the site of Price’s finest performance, murder though it was – as the play amply illustrates – to extract it from him.

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“At the moment of Witchfinder General,” says Logan, “he was still known as the camp, over-the-top Vincent Price.” Audiences were growing tired of his florid theatrics, and AIP was even considering cancelling his contract. “But then afterwards, he suddenly has this flourish of The Abominable Dr Phibes, and Theatre of Blood, and Madhouse – these unbelievably great, latter-career, indelible performances.

“Michael Reeves was able, I think, partly by persuasion, and partly by assault, to change that perspective. For my money, Witchfinder General is the great performance in Vincent Price’s career. Because he’s reduced to ashes – in terms of a soul.”

 

Find out more about Michael Reeves and Vincent Price in John Logan’s Double Feature which plays on the Main Stage until 16 March.

 

READ THE FULL INTERVIEW HERE

BOOK DOUBLE FEATURE HERE