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The Crucible
By Arthur Miller
Directed by Anna D. Shapiro
At Steppenwolf Theatre
1650 N. Halsted
Chicago, IL
Call 312-335-1650, tickets $20 - $68
Tuesdays thru Sundays at 7:30 p,
Saturday & Sunday matinees at 3 pm
Wednesday matinees on Oct. 24, 31 & Nov.7 at 2 pm
Running time is 2 hours, 45 minutes with intermission
Through November 18, 2007
'I'll tell you what's walking Salem - vengeance is walking Salem. We are what we always were in Salem, but now the little crazy children are jangling the keys of the kingdom, and common vengeance writes the law! This warrant's vengeance! I'll not give my wife to vengeance!'" ---John Proctor
“Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul; leave me my name!”
---John Proctor
“A fire, a fire is burning! I hear the boot of Lucifer, I see his filthy face! And it is my face, and yours, Danforth! For them that quail to bring men out of ignorance, as I have quailed, and as you quail now when you know in all your black hearts that this be fraud - God damns our kind especially, and we will burn, we will burn together!” ---Reverend Hale
Emotionally gripping Miller drama a cautionary tale for the 21st Century
Steppenwolf Theatre’s 32nd season, dedicated to answering the question” “What does it mean to be an American?” begins with Arthur Miller’s 1952, The Crucible, reaction to the thought-control lead by Senator Joe McCarthy and his anti-communist House Un-American Activities Committee witch hunt. Miller always strived to inquire into the heart of the American character. Here he has penned a passionate, searing and eloquent melodrama.
Set in 17th Century Salem in Plymouth Colony, The Crucible deals with a group of teenage girls who defy the religious and social norm of the day by conjuring spirits through dance and pagan forest ritual. These exercises leave Betty Paris (Lee Stark) comatose from psychosomatic suggestion. The Reverend Paris (Ian Barford) tries to hide his daughter’s condition but the village has no secrets. Abigail Williams (Kelly O’ Sullivan) is the evil, twisted lying teen who instigates and maneuvers the teens to accuse others in an attempt to hide their actions. The result is a frantic explosion of religious extremism. Dozens of folks are accused of witchcraft and an atmosphere of fear, intolerance and hysteria unfolds.
The Reverend Hale (Tim Hopper) comes to Salem as a minister/investigator for the colony’s courts. He emerges as the only voice of reason and compassion during this fearful time. A farmer, John Proctor (the commandingly charismatic James Vincent Meredith) tries to stay out of the events but his involvement with Abigail and Mary Warren (Alena Arenas) and his love for his wife, Elizabeth, (Sally Murphy) doesn’t allow him to escape the witch hunt. When Elizabeth is arrested, Proctor must take action to defend his wife.
The Deputy Governor Danforth (Francis Guinan in a riveting performance) has everyone intimidated. Only the Reverend Hale and John Proctor effectively challenge the demigod Deputy. Injustice, hysteria, religious fanaticism reign in this most emotionally and expertly acted ensemble-driven production. The Crucible is Arthur Miller’s allegorical cautionary tale that warns Americans to guard against over reaction to social crisis. When the Deputy demands that witnesses be investigated, they are ordered to “name names” as to who practices witchcraft. Most Salem’s residents are fearful and acquiesce. The Reverend Hale and John Proctor alone—with Proctor making the heroic moral stand highlight the drama.
The writing is strong, the characters realistic and the emotions run deep. Fueled by fine ensemble acting, The Crucible has several outstanding performances worth noting. Francis Guinan’s Dunforth, Ian Barford’s Reverend Parris and Tim Hopper’s Reverend Hale come to mind. Kelly O’Sullivan’s Abigail, Alana Arenas’ Mary Warren and Sally Murphy’s Elizabeth added excellent work. James Vincent Meredith’s John Proctor commands the stage with his guilt-ridden early emotions that evolved into a strong character stance and nobility. Meredith is a wonderfully skilled actor of enormous presence. The good versus evil tangle comes to life in the highly dramatic last scenes. This powerful show boors directly into our souls.
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Anna D. Shapiro’s direction allows for deeply felt emotions to explore the consequences of paralyzing fear from religious zealots. Todd Rosenthal’s austere wooden set with Don Holder’s lighting evoked the era aptly. This is another gem from Steppenwolf Theatre. They sure know to mount classic plays.
Highly Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: September 22, 2007
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