Arthur Miller’s ‘The Crucible’ has been brought to life by its latest rendition at London’s Old Vic theatre, featuring a highly talented cast, including Richard Armitage, star of ‘The Hobbit’ trilogy, and internationally acclaimed director Yaël Farber. Armitage’s credits also consist of roles in such films as ‘Captain America: The First Avenger’, and ‘Spooks’, as well as performing in ‘Macbeth’ and ‘The Duchess of Malfi’. Farber is not only a renowned theatre director, but is also recognised as a prominent playwright, her production of ‘Mies Julie’ winning multiple awards at the Edinburgh Festival of 2012. The expertise of these individuals, combined with the undeniable ability of the supporting cast, have created an intense, and enticing, interpretation of one of Miller’s most famous works.
Written in 1953, ‘The Crucible’ tells the fictionalised story of events which occurred in the town of Salem, America, in the years 1692 and 1693. It begins in the house of a pastor, whose daughter has fallen ill, before the audience learn that there is suspicion that the child’s sickness is related to the performance of witchcraft. The girl, Becky, and her cousin, Abigail, were caught dancing in the woods, with the family’s slave waving her arms over a fire. After being barraged with questions, for the harrowing situation she is in to end, the poor woman admits to witchcraft, before naming four other women in the village as witches. Abigail, recognizing a chance for power, confirms the names of the women, the situation eventually escalating to the point where a group of teenage girls, who claim to have been threatened by the devil, and his witches, essentially are able to send individuals to their death with a simple accusation. This reflects the historical events in Salem, where a girl named Abigail, led a group of young women in their accusation of the people of the town, resulting in twenty deaths. (It is important to realize that not only revenge would have been a great motivator, but the little power women possessed in that time would have caused any power at all to seem attractive.)
This rendition not only included spectacular performances, from the protagonists to the ensemble, but many other factors which contributed to creating a truly mesmerising show. The slow, low music used during a scene change, for example, aiding to the growing tension throughout the piece, whilst simultaneously in keeping with its solemn tone. The staging forces an uncomfortable intimacy between the actors and audience, adding to the sense of unease. The wonderful costume-design, the neat black dresses, and grey head-scarves for the girls, are historically recognizable, demonstrating a contrast between the neatness of the council of accusers, and the squalor of the accused, who rot in the town jail.
In summary, this performance of Miller’s ‘The Crucible’ is an utterly spectacular one. The intended sense of outrage and unease, created by ridiculous injustices that translated effectively from stage to screen, is undoubtedly conveyed to the audience. The Old Vic, as one of London’s most famous theatres, has a habit of hosting outstanding shows, and this was certainly in keeping with the venue’s tradition.
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