B*tchcraft
Performed by Bitch; Written by Bitch and Margie Zohn; Directed by Margie Zohn
Presented by wild project
wild project | 195 E 3rd St, New York, NY 10009
February 7-March 1
Photo Credit by Eric McNatt
The B Word. The P Word. The C Word. Words wielded as weapons to crush the matriarchy, yet they empower us to dismantle the patriarchy.
Nicole and I arrived at wild project in the Lower East Side to find a line snaking out the door. A few minutes earlier, we had been reminiscing about our party days, but this time, we weren’t just any bitches—we had VIP passes. We maneuvered through the crowded gallery to the box office, where a kind staffer waved us forward. I shouted my name over the chatter, and they shouted back confirmation. The space was packed. As the house opened, I yelled to Nicole, “House right—the two-seater!”
The energy was electric. Laughter and chatter filled the room. The walls were adorned with artwork—puppies, rainbows, notebooks, and more. Upstage center, a stand waited. Stage right, a humongous box intrigued. Overhead, a massive pencil hung pendulum-like, as if daring us to write our truths.
Welcome to the opening night of B*tchcraft, starring none other than Bitch herself, greeted by a full house that felt more like a coven.
Wow. Just, wow. Part performance art, part concert, part play, B*tchcraft takes the audience on a visceral journey. Bitch shares her story of growing up as a quiet girl in an abusive household, breaking free to become an artist who unapologetically claims her queer, feminist, and creative identity.
In 90 tightly written minutes, Bitch (writer and performer) explores themes that could easily overwhelm a lesser work: feminism, LGBTQIA+ identity, gender expression, and the archetypes of child, mother, and crone. These themes are seamlessly woven into her story, painting a vivid landscape that spans personal, cultural, and corporate histories.
The show takes us through her life as a young girl figuring it out on her own; a teenage girl trying to navigate high school and love; to college where her Women’s Studies course erupts an awakening and a meeting with Animal; Bitch and Animal touring the country and opening for Ani DiFranco and Indigo Girls; and the Michigan Womyn’s Music Festival, a haven of peace, love, and sisterhood for 40 years. Bitch reminisces about this feminist utopia—a space for women artists to connect, create, and commune in the forest under the phases of the moon. She also reflects on its closure, a result of evolving politics and perspectives on inclusion, equity, and intersectionality. It’s a reminder of how understanding develops in real time, often imperfectly, and how vital it is to keep listening and loving as we grow.
Bitch's storytelling and musical prowess stand alone, but with the addition of the design elements, we are transported to another realm. Brian Pacelli's immersive projections, displayed on three walls, created the vivid world Bitch invited us to explore. Amina Alexander's evocative lighting design and Sean Hagerty's atmospheric sound design each told their own stories. Samantha Tutasi's thoughtful scenic and props design provided a tangible foundation, grounding the ethereal experience. Andrea Lauer's costume design, supported by associate Dusty Childers, reminded us that this was no typical rock star performance—it was an otherworldly ritual. Kudos to Francesca, who made her NYC debut as Beavy, Bitch’s stuffed animal come to life, and to Cary Curran as The Crone, who opened the show with a divination, gifting Bitch with the prop of all props —a broom.
Through it all, Bitch stands in her power, telling her story with vulnerability, humor, and strength. From her beginnings as a shy girl with English parents in Michigan to her evolution into a queer feminist icon, she commands the stage with an artistry that transcends simple definitions.
While Bitch calls B*tchcraft a “musical play,” that doesn’t fully capture the raw yet nuanced, bold yet introspective performance she delivers. It is a celebration, a reckoning, a declaration.
B*tchcraft is nothing short of empowering.
Click HERE for tickets.
Review by Malini Singh McDonald.
Published by Theatre Beyond Broadway on Feb 11th, 2025. All rights reserved.