The unparalleled movements of the Sanderson sisters

This week I wanted to look at a spooky classic. 

Something goofy, full of vibrant colors and witches. 

Three witches, to be exact.

In anticipation of the sequel (even though it’s a year away minimum), I wanted to dive into the world of the Sanderson Sisters from 1993s Hocus Pocus.

Winnifred, Mary, and Sarah. 

Played by Bette Midler, Kathy Najimy, and Sarah Jessica Parker, respectively.

Nearly 30 years after its release, Hocus Pocus just keeps gaining traction and a following that simply won’t stop. 

Which is well deserved indeed. 

It’s easy to spot how much fun they had with these roles, and each sister displays a different movement signature which only adds to their unique characters. 

Real quick: for last week’s spooky character movement study, check out The Man Inside the Xenomorph.

If you want more character movement studies that are also rather spoopy, check these out: NBC Hannibals Red Dragon, Angelica Huston’s Morticia Addams, The Descendants Crawlers, Taika Waititi’s Viago, and Train to Busan’s zombies.

For many, I think it’s safe to say that Hocus Pocus is a staple film to watch every year. 

I mean, what more could you want? 

Three witchy sisters, searching for children to complete their potion for youth and the kids who thwart them at every turn?

Absolutely brilliant.

So, here’s my thoughts on how I would break down the movements of each of the Sanderson sisters. 

Cos I can’t choose just one.

That’d be rude.

Also, quick shout out to Doug Jones, who plays Billy Butcherson the zombie. His character movement performance is incredible.

Witchy movements

Now, as I’ve no way of knowing if these three ladies used Labanotation when developing the sisters or not, this character movement study is me exploring how I would break down each of their movements from my background. 

If you’re not familiar with the work of Rudolf Laban or Labanotation, check out my intro post to get acquainted with this excellent building-block method for creating physically diverse characters. 

It’s my go-to for creating character movement signatures and is a handy tool for quick shifts in movement for auditions

One thing that pertains to all three sisters that I found delightful was from a post from Insider:

“According to an archived press release, the film’s choreographer, Peggy Holmes, said each of the Sanderson sisters flew their brooms ‘in character.’

Holmes said, ‘Winifred is in charge and much more aggressive than the other two. She’s always leading the way and looking for children. Sarah loves to fly. She’s always lifting up with her mop and can’t wait to get up in the air, whereas Mary is more cautious. Like a good driver, she signals with her hand. Mary is the safe and steady flier,’ she added.”

Here’s the link to the press release article.

This alone really speaks to their characters. 

Winnifred is driven, Mary is cautious, and Sarah is carefree.

So, how else do they embody these characteristics physically?

There are two methods I want to look at for each performance. Firstly, where are they leading from? (What is the first part of their body to move), and secondly, their baseline movement signature. 

Winnifred Sanderson

Winnifred, or Winnie, is aggressive and takes her leadership very seriously. 

I would say that her leading point is her hands. 

It’s incredible, really, to see how much she uses them and how her gestures then trickle all the way down through the rest of her body.

Her movements are incredibly direct, sudden, and bound.

The focus she exudes is razor-sharp, and I often find myself watching her eyes to see when she blinks. 

What adds to her spooky attitude is how suddenly she moves. Her movements have acceleration to them, and they’re over quickly. 

Such as when she’s tossing Max around when they first meet with her powers. It’s almost a swish and flick thing, with more of an emphasis on the flick.

Mary Sanderson

Mary is cautious, takes her cues from Winnie, and loves sniffing out children.

Her lead point, I’d say, is her nose. As she’s always sniffing out for children. She tends to lean forwards as she walks with her nose guiding the rest of her body. 

Her movements are more sustained in nature vs. Winnie’s, and her center of gravity is lower. Therefore she operates more heavy and grounded vs. light and bouncy, like Sarah.

I would also add that her relationship with space is somewhere between direct and indirect.

She’s not as indirect as Sarah, and in no way is she as direct as Winnie. However, she has moments where she employed one then the other, and sniffing out children is an excellent example of this.

When using her nose to catch a child, she starts out indirectly, getting a general sense of the direction. However, once she’s picked up on the scent, her focus narrows and directly goes for the kill.

Sarah Sanderson

Sarah is bouncy, loves boys and flying. 

Her lead point is without question her chest, as it sticks out and arches her forward wherever she moves. 

Sarah is incredibly indirect and distractable. Her focus is often hazy, and unless otherwise directed, when she’s going somewhere, she moves in such a way where she’ll get there eventually.

At the beginning of the film, she doesn’t take the direct path to the wall of ingredients. Instead, she dances around the cauldron, weaving her way in and out of the space, twirling as she goes. 

Her movements are free-flowing and light, often appearing on her tiptoes. It also takes multiple tries to get her to stop moving. Whether it’s by Winnie’s glare or by physical force.

“I suggest we form a calming circle.”

When they get together, the Sanderson sisters create a cornucopia of movement that is a delight to watch.

They each have their own distinct movement signatures but come together to unite seamlessly. 

The hunched stride they use to move about the streets during trick or treating is a great moment where their styles merge together as they work together. 

So, have you watched Hocus Pocus yet this year?

Is it a staple for you, or is it new to your spooky repertoire?

Either way, go forth and run amok!

Amok, amok, amok!