‘The Crucible’ review
‘a stunningly well put-together production, with the creative and production team and cast working seamlessly to present a terrifying story about human panic’
Stephenson College’s Rocket Theatre Company graces the Assembly Rooms Theatre with Arthur Miller’s 1953 tragedy The Crucible. Crafted by Director Lauren Williams, Co-Assistant Directors Ellie Hutty and Abbie Welsh, Producer Catrin Morgan, and Assistant Producer Bethan Crotty, The Crucible lives up to its dramatic plot; it is captivating from start to finish and truly a piece of spectacular theatre.
Set against the context of the Salem Witch Trials in the 17th century, the story revolves around the small village of Salem. A group of girls, led by ringleader Abigail Williams, begin mass hysteria by accusing villagers of witchcraft, manipulating the heavy emphasis on religion to hide their illicit activities. This all culminates in disastrous consequences for the village.
Brought to life by stellar performances from each member of the cast, the dialogue is well-paced, keeping a constant flow to the story despite plot intricacies and off-stage action. Emilia Lewis shines as the cunning, vindictive Abigail Williams. As ringleader, she commands each scene with formidable confidence. She is a force to be reckoned with when it comes to her manipulative scenes, particularly with John Proctor. Even when offstage, she has a lurking presence that haunts the chaos in Salem.
Jack Radcliffe, as John Proctor, portrays a spectrum of emotion in his journey from bitter harbourer of secrets to a despairing and prideful family man trying to protect his wife from accusations. Despite Proctor being undoubtedly flawed, Radcliffe excels in creating sympathy for the character, and his emotional outbursts truly embody the madness that spirals through Salem.
Elizabeth Proctor, portrayed by Marni Hugo, is the epitome of sympathy, yet Hugo does not shy away from the quiet yet significant strength that can sometimes be lost in the vulnerability of Elizabeth. In a play full of frequent noise and alarm, this quieter character is never lost in the chaos or consumed by her victimhood but instead draws an intense focus to her strength and goodness, which could be easily overlooked in the simultaneous pathos she evokes.
Oli Butler as Reverend Hale nails their transformation from naïve witch-hunter to main defender of the Proctors. Butler manages to generate a pathetic kind of desperation in their character, and balanced with the reverend’s simultaneous fallout with their faith in the justice system, they were a standout performer in the final scene.
Another standout performer is Pearl D’Souza as Mary Warren, one of the accusers who is led by Abigail. D’Souza demonstrates Warren’s inner conflict as an all-consuming experience, taking over her entire body. The nervous energy of her character bleeds into the uneasy, foreboding tone throughout the play, and she is simply captivating to watch on stage.
Other shoutouts must go to the other accusers, Becca Moran, Freya McIntyre, and Alice Toner who play Betty, Mercy, and Ann respectively. Their manic, frightening energy showcases the fear that fed the hysteria during the trials. They work impeccably with Abigail, enhancing the supernatural air of mystery. Ben Oliver as Reverend Parris is crucial in gripping the audience in the first scene through his defensive characterisation, symbolising the huge theme of paranoia, which holds out for the rest of the play.
I particularly enjoyed how jerky and nervous the energy of the entire cast was when names or events were brought up, conveying the intense emotions between such a close-knit community.
The production team do excellent jobs in running the show. Transitions are swift and smooth, giving appropriate time to digest action. Curated by Production Manager Hamish Campbell, they are professionally carried out by the backstage team of Stage Manager Leon Ansorg and Deputy Stage Manager Thomas Pizii and the rest of the stage crew.
The lighting, designed and operated by William Dinnie, is harsh and glaring in scenes where characters are put under pressure, but also dimmer and intimate in scenes harbouring secrets within the plot. Particularly towards the end, where the threat of sunrise looms, the lighting contributes massively to the urgency and tension.
The sound, designed by Oliver Fitzgerald and operated by Eleanor Rowlands, was major in contributing to the eerie theological setting. Although the background noise of a fireplace is perhaps a little too obviously on loop, leading to some small pauses of silence before replaying itself, it is not overly noticeable.
The costuming is reasonably appropriate for the historical period but also very clever for subtle visual grouping of characters. Certainly, for any audience member new to the plot, separating the categorisation of girls, authorities, husbands, and wives is done cleverly through the costumes.
The Crucible is a stunningly well put-together production, with the creative and production team and cast working seamlessly to present a terrifying story about human panic. With a constant nervous energy and sense of tension appropriate to its subject-matter throughout the play, the entire company should be proud. I thoroughly recommend watching for its run this week.
By Gemma Christie.