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Review: The Crucible (Shakespeare's Globe Theatre)

Review by Sophie Wilby


⭐️⭐️⭐️⭐️


Though a stage not unfamiliar with witchcraft, Arthur Miller’s seminal allegorical play about 17th century Salem, and 20th century America, graces the Globe Theatre for the first time. It is, in fact, the first time that any modern American classic has been staged at the iconic venue and the success of this gripping production only begs the question of why not sooner? 



Whilst the weird sisters may not be making an appearance, there is no absence of toil and trouble running amok in The Crucible’s puritanical Salem - namely at the hands of young Abigail Williams (Hannah Saxby). After Abigail Williams is caught dancing in the woods with a group of girls, including her cousin Betty Parris (Scarlett Nunes), by her uncle Reverend Parris (Steve Furst), panic spreads when a mysterious, unresponsive illness suddenly strikes young Betty and whispers of witchcraft ripple through the deeply religious, puritan town. Fuelled further by the grief of Ann Putnam (Sarah Belcher), who has lost several children in infancy, suspicion quickly turns to paranoia. Abigail, sensing a chance to gain power and settle personal scores, begins to spin a damning narrative of dark forces, possession, and devilry.


Opposing Abigail, local farmer John Proctor (Gavid Drea) takes up the mantle of tragic hero. Though ultimately good-natured, Proctor’s flaw - ultimately a fatal one - is lust. It is his affair and subsequent rejection of Abigail that drives her to seek revenge, as she attempts to replace his wife. Only by admitting his sin can he discredit Abigail enough to break the hold she has on the town but in doing so, he will ruin his reputation.  As accusations multiply and fear metastasizes, the town descends into hysteria, with devastating consequences for all caught in its path.



Ola Ince offers a faithful and considered interpretation of Miller’s text, though with the mismatch of British and Irish accents, there is a sense of it being set within the English countryside rather then in Salem itself.  However, if there is a criticism to be made from Ince’s interpretation, it is that the production misses opportunities to explore some of the deeper psychological and political currents running through the play. Abigail, for example, is afforded little nuance. There is room to sympathise with her - her relationship with John Proctor is marked by an unequal power dynamic, with him repeatedly referring to her as a ‘child’ or a ‘girl’, suggesting his own moral failings in pursuing someone so young. Her later actions, though inexcusable, might be understood as reactive, a desperate grasp for power in a world that has denied her agency. Ince’s Abigail, however, is often portrayed as pouty and petulant, solidifying her in the role of villain without exploring what drives her.


Hannah Saxby is very successful in portraying this version of Abigail as one who is wholly unlikable. And she is not alone in her successful portrayal, as the cast is a strong one. Phoebe Pryce’s quiet strength as Elizabeth Proctor is particularly noteworthy for the sheer range of emotions within her facial expressions in response to what is happening around her. A stand-out performance from Gareth Snook as Deputy Governor Danforth dominates much of the second act. He balances the ridiculousness and the sinisterness of the character well, eliciting laughter from the audience which is quickly undercut by his malice. Yet it is Gavin Drea who undoubtedly steals the show. From the dryness of Proctor’s wit to the rawness of his emotion, Drea perfectly encapsulates the internal struggle of the protagonist as it increases throughout the performance. He does not shy away from the unlikability of Proctor - such as using his imposing physicality against women - and yet still manages to gain our sympathies, particularly in the truly heart-wrenching conclusion. 



It is impossible not to feel immersed in a production at the Globe Theatre but Amelia Jane Harkin’s design heightens this. From the 15 minute pre-show where Salem locals are seen on two small stages in the yard sowing seeds or, more dramatically, recovering from receiving corporal punishment to the dramatic courtroom scene where the judges and the girls who have accused their neighbours of witchcraft stand amongst the ground visitors, as though they too are complicit in the unravelling on the town. The wooden theatre works perfectly to encapsulate the feeling of rural village homes, surrounded by hay, especially when coupled with candlelit bedsides, roaring fireplaces and mismatched wooden furniture. 


Despite The Crucible being a response to McCarthyism, the 1950s wave of anti-communist paranoia that saw countless lives and careers destroyed by unproven accusations, and allegorised through the witch trials of the 17th century, there is a clear timelessness to Miller’s work. The dangers of mass hysteria, misinformation, scapegoating, and marginalisation feel all too familiar in today’s climate. Perhaps that is why, as gripping as it is gut-wrenching, this production casts a spell that lingers. With just a nine-week runtime, this is not one to hesitate over. Facing a three-hour stint either standing or perched on the benches of the Globe Theatre is undoubtedly rewarded by the sheer electricity of the performance - Gavin Drea’s performance in particular is one that I will not forget anytime soon. 


The Crucible plays at Shakespeare's Globe Theatre until July 12th



Photos by Marc Brenner

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