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Show: The Crucible
Society: Sheffield Theatres
Venue: The Crucible Theatre. 55 Norfolk Street, Sheffield City Centre, Sheffield S1 1DA
Credits: By Arthur Miller. Produced by Sheffield Theatres. Director - Anthony Lau
Type: Sardines
Author: Joanne Thornewell
Performance Date: 02/03/2024
The Crucible
Joanne Thornewell | 13 Mar 2024 02:42am
The Crucible at The Crucible. That’s so perfect it surely has to be amazing. So is it?Â
Yes. Yes, it is.
Written by Arthur Miller to highlight the madness of McCarthyism in 1950s America, The Crucible depicts the events of the Salem witch trials in the late seventeenth century. Young girls who were found dancing naked in the woods must invent a cover story to escape condemnation. They were bewitched. And soon anyone with a grudge against his neigbour can accuse them of witchcraft.
In this version, director Anthony Lau has stripped back the set to the minimum and the actors are very exposed. They have no beautiful set or gorgeous costumes to hide behind. And they don’t need it – every one of these actors is top calibre. They all inhabit their characters incredibly well with clear diction and powerful delivery. The word powerful sums up so much of this production.
‘The Crucible’ is an illuminated sign above the proceedings – a copy of the sign outside the theatre. It acts as a reminder that this action is indeed hot and unyielding. It glows red at the points of highest intensity and fizzes as if it is overloaded with power. Lighting is used to great effect throughout, each act having its own unique lighting, sometimes even controlled by individual characters.
The play begins in the home of the Reverend Parris, played by Sargon Yelda who perfectly captures all of Parris’ hypocrisy and self-interest. His daughter is unwell having danced in the woods with other girls led by Parris’ niece Abigail Williams (a very impressive Rose Shalloo) and his Barbadian servant, Tituba (Giullianna Martinez). Abigail manipulates Parris and threatens her friends. It is clear to the audience from the start that Abigail is both magnetic and controlling. She is the catalyst for all the events that follow as more and more upstanding townsfolk are accused of witchcraft and condemned.
Abigail previously worked as a servant to John and Elizabeth Proctor (Simon Manyonda and Anoushka Lucas) and had an affair with Proctor. The affair ended when John admitted it to Elizabeth and Abigail was dismissed. Abigail is unable to accept this and uses her new power to condemn Elizabeth.
The production is intense and compelling. In Act 1, the cast stays on the stage, sitting on a raised area at the rear as though they are all witnesses to the proceedings. Occasionally a character delivers their lines using a microphone – this highlights key character dialogue, for example when Parris is praying to show how pious he is, or when Ann Putnam (Laura Pyper) bitterly rages about her seven miscarriages. These devices effectively add to the intensity of the production.
In Act 2 when we first meet the Proctors, the other cast members leave the stage. I was unsure why the stage was covered with flowers, but the decision to have Abigail remain on stage is inspired. She is literally the elephant in the room that neither Proctor will initially mention. The fact that she is enjoying their discomfort while eating an iced lolly is delicious!
The court scene in the second half is intense with excellent performances throughout, particularly from Sid Sagar as the regretful Reverend Hale and Ian Drysdale as Danforth. The raised seating area is now moved forward and the atmosphere is even more oppressive as Mary Warren (Millicent Wong) dares to defy Abigail.
For a long play, this moves with great pace and maintains it’s electric intensity throughout. The audience is captivated and silent. I made fewer and fewer notes as it proceeded as I was held enthralled by this first rate production.