What do you get when you mix an Appalachian ghost story, small-town gossip, and a little bluegrass? Pinky Swear Productions’ Bell Wringer, a delightfully spooky musical comedy that brings the legendary Bell Witch to life with country charm and plenty of mischief.
Winner of Best Musical at the 2023 Capital Fringe Festival, Bell Wringer, written by Seth Alcorn and Karen Lange, revisits the Tennessee folklore surrounding the Bell family and the supernatural entity that allegedly haunted their household in the early 1800s.
Under Jen Jacobs’ direction, the production embraces the humor and musical traditions of Appalachian storytelling. The musical’s originality is complemented by its three-piece bluegrass band, featuring guitarist and bandleader Justin Heath, fiddler and co-music director Charles Sinche, and banjoist Josh Finch.
Finch’s lively banjo picking provides the perfect “bum-ditty” rhythm, while his interplay with Heath and Sinche sustains the musical’s country swing. Together, the musicians establish a distinctly Appalachian sound that proves essential to the production’s pacing and playful atmosphere.
Perhaps most compelling is how Bell Wringer explores the consequences of supernatural hauntings alongside something arguably more frightening: small-town gossip. As the witch keeps witching and rumors keep circulating, the audience sees how sensationalism can become as consuming as the paranormal itself. Alcorn and Lange capture this sentiment through clever storytelling, dark humor, and infectious bluegrass melodies, making the musical’s underlying commentary entertaining and accessible.
Bella Bean’s warm, rustic set provides an inviting backdrop, almost as though audiences have pulled up a chair to hear the town’s latest juicy gossip.
Lange leads the hauntings and hoots as the enigmatic Witch, also known as Kate. Lange commands the stage with her alluring mystique and beautifully clear vocals, balancing the character’s sinister intentions with her humorous rapport among the cast.
Jacobs’ incorporation of practical effects adds another layer of theatrical mischief. Particularly effective is the use of a wooden stick and metal can, whose impending interaction becomes a playful warning that supernatural trouble is about to erupt.
Lange shares especially amusing chemistry with Julia Rudgers, portraying Josh Gardner and other characters. Rudgers brings spirited Southern charm and comedic versatility to each of her appearances.
At the center of the haunting are John and Lucy Bell, portrayed by Adrian Iglesias and Nicole Ruthmarie, respectively. Iglesias delivers a resonant vocal performance, while Ruthmarie lends a graceful Southern-belle sensibility to the production’s colorful assortment of characters. Together, they establish the household whose supernatural misfortunes become the town’s favorite conversation.
A standout performance comes from Hope Campbell Gundlah as Elizabeth “Betsy” Bell and others. Gundlah’s captivating soprano vibrato and delightful comedic timing command the stage, bringing both grace and humor to the Bell family’s whirlwind of gossip and supernatural misfortune.
Matching her energy is Tom Howley as Richard Powell and others, whose engaging stage presence and spirited characterization bring additional humor to the ensemble.
With six performers portraying an assortment of townspeople, Bell Wringer thrives on its cast’s collective chemistry. Ensemble numbers are particularly exciting, with the performers’ harmonies and playful interactions bringing the town’s colorful personalities together. Equally impressive is their consistency in maintaining Tennessee accents throughout the production, further grounding the musical in its Southern setting.
Henery Wyand’s costume design offers another creative highlight. The early-19th-century-inspired wardrobe features women in lightly colored, waist-gathered dresses and men in tailored vests and muted earth tones. Most striking is the Witch’s deep purple-and-black ensemble, complete with a fitted bodice that accentuates her mysterious, alluring presence. These thoughtful details help distinguish the characters while adding visual richness to the intimate production.
Although the musical maintains an enjoyable pace, some performances could benefit from greater vocal projection and fuller command of the playing space. Even within Gunston Arts Center’s intimate Theater Two black box, occasional dialogue and vocal moments would land more effectively with stronger delivery. Nevertheless, the ensemble’s energy and evident camaraderie carry the production through these minor shortcomings.
While I initially anticipated a more horror-driven interpretation of the Bell Witch legend, I was pleasantly surprised by the dark humor that ultimately guides the production.
Rather than relying on scares alone, Bell Wringer finds its strength in transforming a supernatural tale into an amusing examination of gossip, communal hysteria, and the stories people choose to believe.
With Halloween just around the corner, Bell Wringer offers theatergoers a spirited helping of seasonal spooks, an entertaining story, and bluegrass tunes that might just leave them singing, “Crambone!
Running Time: Approximately 80 minutes with no intermission.
Bell Wringer plays through 31, 2026, presented by Pinky Swear Productions, performing at Gunston Arts Center, Theater Two, 2700 South Lang St, Arlington, VA. Performances are Thursdays–Saturdays at 7:30 PM and Saturdays and Sundays at 2:00 PM. Tickets ($30 plus fee) are available online. A Halloween party will follow the closing performance on Saturday, October 31.
This production utilizes moments of flashing lights.
Cast, crew, and creative credits are here.
Bell Wringer
Presented by Pinky Swear Productions
Written by Seth Alcorn & Karen Lange
Directed by Jen Jacobs
