Critically Acclaimed Revival of Arthur Miller’s ‘The Crucible’ Transcends Time with Magnificent Performances

…By Henry George for TDPel Media.

This magnificent revival of Arthur Miller’s study of real and allegorical witch hunts has gained stature since its opening at the National Theatre nine months ago.

The production has undergone some changes, with Brian Gleeson bringing a haggard toughness to the central role of John Proctor, a free-thinking farmer in the theocratic town of Salem, Massachusetts, in 1692.

Milly Alcock, breakout star of House of the Dragon, is a fascinating replacement for Erin Doherty as Abigail Williams, the spurned girl willing to destroy the world if she can’t have Proctor.

Stirring production and a claustrophobically narrowing set by Lyndsey Turner and Es Devlin, respectively, find a better fit at the Gielgud Theatre than at the National.

The religious keening of the young girls accusing their elders of satanism, escalating to shrieks and yells, has a stronger impact.

Above all, the play now presents an acute study of how dishonesty poisons public discourse, with even the deceived perpetuating a lie.

While I initially liked it at the National, it now appears nearly perfect.

Endless relevance marks a stone-cold classic, and Miller’s play, written in 1953 as a critique of mass hysteria over communist influence in America, certainly qualifies.

Admittedly, the sexual politics have aged.

Proctor, our hero, is a decent man who is religious but intolerant of hollow priests and a good provider.

When his wife Elizabeth becomes sick after the birth of their third son, Proctor is tempted by their servant, the teenage “harlot” Abigail.

Once you overcome the moral challenge of this power imbalance, the play and production proceed with an unrelenting force.

Miller’s 17th-century dialogue still sounds fresh and direct.

The play is richly detailed, exploring the consequences for crops, cattle, and children when a small agricultural community faces accusations, imprisonment, and hangings for witchcraft.

There’s a pleasing balance between Gleeson and Caitlin FitzGerald as Proctor and Elizabeth.

He exudes authority outwardly, while she is austere and in control.

Abigail poses as a marital obstacle they can’t overcome, and Alcock delivers a sublime and terrifying performance as the teenage victim/temptress.

At times, Abigail appears childlike, earnestly biting her lip under interrogation by priestly prosecutors.

Yet, she can also display insolent carnality and fearsome, manipulative rage.

When she and her young followers exhibit demonic possession in the courtroom, it sends chills down the spine.

One of the strengths of this production is that it keeps you guessing about Abigail’s level of control and opportunistic responses to unfolding events.

The supporting performances by Karl Johnson as the pugnacious old farmer Giles Corey, Nia Towle as Abigail’s friend and foe Mary Warren, and Fisayo Akinade as the troubled Reverend John Hale are excellent.

Courtroom scenes are framed at the back of Devlin’s receding floor and mirrored overhead slab, resembling 17th-century paintings.

The purpose of the sporadic curtain of rain dominating the set remains unclear, but aside from that, this is an important and satisfying show that has benefited from a commercial transfer.

Yes, it runs for three hours.

But yes, it is worth it.

Read More On The Topic On TDPel Media

Related posts: