DramaFeaturedNorth East & YorkshireReview

The Crucible – Crucible Theatre, Sheffield

Reviewer: Charlotte Broadbent

Writer: Arthur Miller

Director: Anthony Lau

Late in 2022, the National Theatre produced its latest production of The Crucible to mixed reviews. A play that is performed time and time again, one might think it is foolhardy to follow up with a production so soon. Sheffield Theatres have demonstrated that they are not ignorant of a broader discussion and are aware of the national impact this regional theatre has. Anthony Lau has remained true to his vision of this timeless play and created something modern, sincere, diverse, and effective. A play that was born out of political unrest, it is tempting to look more widely at the societal message a theatre may be sending. While that gut punch may be missing here, the effortless storytelling lets the play speak. Perhaps this method keeps the production in audiences’ consciousness for longer, meaning we may think about it a little deeper.

Salem, Massachusetts, 1692. A group of young women are caught dancing in the woods at night. In the ensuing hysteria of the night, things may have gone too far, and once Reverend Parris catches them, with his daughter and niece in attendance answers are demanded. In the furor, a number of the girls collapse into a stupor: are they avoiding difficult questions or is there something more sinister at work? This act ignites the fuse that allows the villagers to air old grudges and settle scores behind the mask of a witch hunt. Many involved have their agenda, including young Abigail Williams, the ringleader of the young girls, who has had relations with a local farmer, John Proctor, and isn’t ready to let go. What started as an exciting prank soon becomes all too real as many townsfolk are executed. Confronted with the choice John Proctor must decide, does he confess to dealing with the devil to save his life? Or does he die an honest man?

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Many will be familiar with the text, though if this is your first Crucible you’re in for a treat. The acting in this production is sublime. The cast delivers the script with a dextrous fluency. Sargon Yelda is magnificent as Reverend Parris, finding the nuance in an obsequious man who is plainly looking out for himself. Millicent Wong has great fun delivering Mary Warren, a gem of a role and Wong doesn’t waste a moment of it. Alexandra Mathie has comparatively little stage time as Rebecca Nurse, but it is a vital moment where a character delivers a well-needed dose of normality. Mathie does this with warmth and humanity. Anoushka Lucas tackles Elizabeth Proctor with refreshing simplicity, showing us the vulnerability of the character without the piety that so often comes with the role.

Period dress is used throughout but the set is kept bare. Simple chairs are brought on occasionally. Microphones are used for sound but also punctuation. At the back of the stage is suspended a large, illuminated box and on it is written Crucible. This is a little on the nose. If Lau has intended to set this production in Sheffield, there is no other allusion to that. Is it intended to make the audience realise these issues lie closer to home than we may like to think, or is it a bit of fun pointing out what we’d already noticed? A little jarring and arguably unnecessary. However, the lighting within, designed by Jess Bernberg, is a living part of the production, glitching at certain points to punctuate the text. Another repeated detail is that the characters are often drinking milk. In fact, the image features on the programme. The meaning is not immediately obvious. Perhaps the insidious poison in the village is going as far as infecting the livestock, perhaps there is ‘something in the water’ so to speak. A stylish detail but not an obvious one.

As mentioned, the use of microphones, while occupying the stage, does offer some wonderfully creative moments. Characters can bring their volume down much more than is expected in theatre. Intimacies are now more private and when the drama is at its peak in the courtroom, the impact of a vulnerable voice amplified is powerful. An excellent detail, well executed.

While the logic behind some style choices may not be apparent, what is crystal clear is that this is an exceptional company who are dealing with this well-worn text and making it feel new. An elegant production that is chilling and poised.

Runs until 30th March 2024

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The Yorkshire & North East team is under the editorship of Jacob Bush. The Reviews Hub was set up in 2007. Our mission is to provide the most in-depth, nationwide arts coverage online.

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