The Crucible
At Studio 58 until Oct. 16
Tickets: 604.684.2787, ticketstonight.ca
Arthur Millers The Crucible didnt meet with great success when it opened on Broadway in January 1953. Written, he says, as an act of desperation in response to the McCarthy witch hunts, the play possibly struck too close to home; maybe theatre-goers didnt want to see the parallel between the insanity that characterized late-17th century Salem, Massachusetts and the Communist purges of mid-20th century America.
But The Crucible has gained in stature over the decades and, surprisingly, has outstripped Death of a Salesman as Millers most frequently produced play worldwide. A modern morality play, it has villains and heroes.
Whipping the town into hysteria is Abigail Williams, a teenaged girl, who precipitates the arrest and execution of hundreds of innocent souls. Having been sexually involved with John Proctorin whose home she was employed as a housemaid until his wife Elizabeth let her goAbigail now wants Elizabeth out of the way. With the help of a group of easily swayed girls, she spreads rumours of witchcraft. Aided by Reverend Parris, Reverend John Hale and Deputy Governor Danforth, Abigail casts a wide net. As Danforth says, We burn a hot fire here. This is not Puritan New Englands finest hour as townsfolk falsely accuse each other and, eventually, lead to the conviction of both John and Elizabeth.
Tennessee Williams talked about the moment when an audience is united in a universal sob. The Crucible has such an excruciating moment. Youll know it when it happens.
Under Jane Heymans excellent direction, this cast of 19 senior Studio 58 students (plus professional actor Anthony F. Ingram) transports Millers play off the page and into the present. Pam Johnsons seta bleached, weathered interiorand Barbara Gregusovas homespun, rustic costumes locate the play back in the 17th century. But theres no doubt the true villain in this piece is extremisma very present, 21st century danger.
Studio 58s process is an interesting and difficult balancing act. Artistic director Kathryn Shaw selected the play based on cast size (every senior student has a significant role), merit, opportunity for individual student growth, balance in the season and many more factors. Heyman came on board last spring; the senior class knew then what play they would be doing in October after returning from their summer break. Casting began in September. The students had regular classes every morning, followed by rehearsals every afternoon and evening, six days a week. Thats how it goes in Western Canadas finest theatre school.
All this dedication shows in this production with fine ensemble playinga hallmark of Studio 58and finely crafted individual roles. Stephanie Moroz is chillingly manipulative as Abigail while Kayla Dunbars Mary is fearfully manipulated. Alex Rose and Sara Andrina Brown, as John and Mary Proctor, are heartbreaking in the final scenes.
From the beginning, Noah Rosenbaum sought the role of Reverend John Hale and it was a wise choice; full of religious fervour at the beginning of the play, Hale soon finds the proceedings appalling but cannot extricate himself. Rosenbaum shows us the dreadful inner struggle that comes too little, too late.
Coming in only in Act 2, Ingram becomes the focal point. His performance is riveting. In many ways, Danforth is the most villainous of the lot; hes in so deep, he cannotor, worse, will notturn back. In this, Danforth is reminiscent of King Creon in Sophocles Antigone: damned if you do, damned if you dont.
This is a blockbuster of a play given blockbuster treatment by Studio 58.
