The Crucible is renowned as one of the finest plays of the 20th century and most readers will be familiar with its plot and back-story.
While, ostensibly, it investigates the Salem witch trials of the late 17th century, Arthur Miller intended his work as an allegory on the activities of America’s House Un-American Activities Committee, which brought havoc to so many two and a half centuries later.
Lyndsey Turner’s 2022 revival is both powerful and terrifying, not least because the director and her cast allow the play to tell its own story rather than overlaying some distracting, imaginary concept as has become so fashionable. It is also devastating because many viewers might not only recognise parallels with efforts to denounce communists for imagined crimes 70 years ago but also the rise of populism as exemplified by events in the United States and beyond today.
The gist of the story sees a group of hysterical young girls in an evangelical Christian community condemning upstanding citizens for imagined witchcraft and being believed. It doesn’t take much of a stretch to compare their behaviour with the increasingly outlandish activities of powerful Americans today, where lies are spread primarily on social media and, by repetition, become regarded as truth by so many who should know better.
Set, costume and lighting designers Es Devlin, Catherine Fay and Tim Lutkin stick with the original period, which adds to an atmosphere that is convincing, building tension to the point where it is almost unbearable.
The central plot focuses on the efforts of John Proctor, played with incredible conviction by Brendan Cowell, to protect Eileen Walsh as his weak but principled wife, Elizabeth, from accusations of witchcraft. Theirs is a single case representing many others, as hundreds were accused and dozens condemned to death on the words of those screaming children, brutally enforced by both the legal and church bigwigs of the time.
The girls are led by one of the best young actresses working on the stage today, Erin Doherty taking the role of Abigail Williams, not just the Proctors’ former employee but also John’s sly, vengeful lover. As Proctor and his friend Giles Corey played by Karl Johnson amply demonstrate, there are ulterior motives at work as well.
Nick Fletcher is Reverend Samuel Parris, a preacher with no authority and far too much power, desperate to retain his position and feather his nest, while others in the community know that they will profit richly if their neighbours are killed or forced to sell up.
The play builds to perhaps the best and certainly most chilling courtroom scene in stage history. Matthew Marsh as the supreme judge, Deputy Governor Danforth, interrogates (there is no other word) brave Mary Warren, reducing Rachelle Diedericks’s character to gibbering tears. This is also the moment when the only grounded, decent outsider, Fisayo Akinade’s Reverend Hale, finds himself powerless to save souls in the face of unwarranted evil.
Lyndsey Turner has delivered a fantastic, gripping production and all involved are to be commended, with impeccable acting from every member of a large cast, inspired by Erin Doherty, Brendan Cowell and Fisayo Akinade, sharp direction leading to an unforgettable reminder that, at his peak, Arthur Miller was quite possibly the best American playwright of the 20th century.
National Theatre at Home is available on subscription, broadcasts in HD, costs only £9.99 for a month or £99.99 for a year.