By Michelle Rawlins
It’s been 70 years since Arthur Miller’s masterpiece was first produced, during the grip of America’s anti-communist crusade, causing a huge societal stir. This latest adaptation may not have the same political punch, but it’s certainly a brave and bold take on the Broadway classic, that asks questions of today’s unsettled society.
As tradition dictates, the production is centred around the 17th century Salem witch trials, where hysteria led to accusations and unfounded blame and the parallels to modern day conspiracy theories, outlandish social media accusations and hate speech, are ever present.
Director, Anthony Lau, uses a plethora of creative mechanisms to get the message across, from sole actors talking at the audience from microphones, to whip up a storm, to increasing the volume when accusations, in the form of unrelenting aspersions, are being thrown – all of which resonates of dangerous echo chambers for those who persistently scream the loudest.
The phenomenal cast deliver the message with exceptional stamina and skill. There is a lot of dialogue throughout this three-hour production – testament to their skill and endurance.
Ian Drysdale is exceptional as Judge Danforth, as he leads the hysterical and nonsensical witch-hunt of innocent people, refusing to back down, frightened the damage that has been caused to so many will all be revealed. Sound familiar?
Simon Manyonda puts in a stellar performance as John Proctor, who’s selfish misdemeanours with the home-help, which acted as the catalyst to the whole torrid affair, passionately fights for his wife’s liberty. The message is clear – if you play with fire, you will get burnt.
And John Proctor messed with the wrong girl. Abigail Williams, performed with a chilling and unequivocal brilliance by Rose Shalloo, is hell-bent on making sure both the Proctors pay for their actions – John for using her as a plaything, and his innocent wife, Elizabeth, for being the obstacle who prevents the affair from continuing.
Williams sinister and venomous master plan of allowing the village pastor to think a group of young girls, including his own daughter, have been cursed with black magic, has a domino effect, exposing hidden resentments towards other locals, including poor Rebecca Nurse who is then accused of killing babies.
Designer, Georgia Lowe, has endeavoured to create an increasing tension of the unjust trial which ensues, but some of it feels gimmicky, rather than terrorising. There’s a giant light, which displays the word Crucible (a nod to the fact this play is being staged in a theatre of the same name), behind the actors, which fizzes with static. There is also the intermittent use by judge, jury and defendants preaching into microphones, which does feel a little unnecessary. However, the amplified accusatory chanting from Williams and her co-conspirators does have the desired menacing effect.
The subliminal meaning behind this American classic isn’t always obvious, but it does leave you thinking about cultural and political issues, that have continually repeated themselves in a myriad of guises, since time began.
The Crucible is running at The Crucible until: March 30
Tickets here
Photos by Manual Harlan