| . | 02/15/2008
The Crucible
By: Loria Parker
George Kareman, Kevin Albert, David Licht, Sarah Bennett and Tyne Firmin
Someone once said, “You never tire of looking at a masterpiece”, and watching The Schoolhouse Theater’s production of Arthur Miller’s allegorical play The Crucible proves the point. The play, originally produced on Broadway in 1953, was Miller’s response to the post World War 2 communist threat obsession culminating in the 1954 McCarthy hearings in search of communist sympathizers, in the Army as well as in the theatrical and motion picture industries. Writers, directors and performers were targeted, blacklisted by studios and producers as lives and careers were destroyed. Conditions of employment at some broadcast networks required signed oaths of loyalty to America, as McCarthy sought to purge communists from the U.S. government as well as show business. Some who were called to testify before the House Un-American Activities Committee gave up the names of left leaning colleagues in order to save themselves. Just as the Salem witch hunt was a dark day in early American history, so was this 1954 fear frenzy of innuendo and suspicion.
Set in Salem Massachusetts of 1692, The Crucible concerns itself with several young girls thought to be consorting with the devil under the guidance of Tituba (Walita) a slave from Barbados, with a penchant for conjuring. As they dance in the forest one of the girls, Betty Parris (Lauren Currie Lewis), niece of Reverend Samuel Parris (Keith Barber) falls ill with an unknown and comatose condition that further convinces the Reverend that witchcraft is involved. When Betty’s cousin, Abigail Williams (Sherry Stregack) comes to visit the ailing Betty, she too is suspected of complicity in the forest antics, and Reverend John Hale (Kevin Albert), a witchcraft expert is sent for to question and examine Betty, Abigail and Tituba. In retaliation, Abigail levels like charges against Elizabeth Proctor (Sarah Bennett), her former employer, and wife of John Proctor (Simon MacLean) with whom she had a brief affair. Abigail has her sights set on the death of Elizabeth and her ascension to the wifely role of Mrs. Proctor, drinking chicken’s blood while the other girls might just be having fun in the moonlit forest.
The finger pointing and accusations escalate as Tituba and Abigail confess to consorting with the devil, and start naming other witches among the townspeople. In an effort to resolve these issues, the Deputy-Governor Danforth (David Licht) is brought in from Beverly Mass. to uncover the truth, so to speak. The Proctors are questioned about their biblical knowledge and others, including the seventy year old Rebecca Nurse (Terry Ashe-Croft). She is brought to the court, accused, convicted and sentenced to hang as a witch. It’s as if the whole town has gone mad as the accused are urged to confess to being witches in order to save their lives. Some do, most don’t, and dozens are sent to their deaths.
The ensemble of The Crucible is cohesive and committed, and several performances deserve high praise, notably Ms. Bennett’s and Mr. MacLean’s. As the Proctors, these two gifted actors provide the audience with an authentic look into a complicated yet loving marriage, and they surely break your heart at the play’s end. Mr. Albert’s Reverend Hale poignantly provides the play’s voice of sanity amidst the madness and Ms. Stregack is terrific as the conniving Abigail in a performance of expansive emotional range. Also deserving mention are Sari Caine as Mary Warren, Walita as Tituba, John Tyrrell as Giles Corey and most certainly David Licht as Danforth.
The Schoolhouse Theater’s artistic director Pamela Moller Kareman has done a masterful job of directing a consummate production of The Crucible allowing the actors to find their character’s souls. The spare yet effective set deign by John Pollard and costume design by Kimberly Matela work perfectly. David Pentz’s lighting design serves the play very well and sound design and original music by Matt Stine gives The Crucible just the right touch of mystery and dread. It’s difficult to imagine a better rendition of this play produced in association with Mare Nostrum Elements. As a lesson in history The Crucible still has the undeniable impact that secures its exalted place in American theatre, and this production should have a life beyond its limited engagement at the Arclight Theatre.
The Arclight Theatre 152 West 71st Street (between Broadway and Columbus) until March 2, 2008 on Wednesday and Saturday at 2 PM and Thursday, Friday and Saturday at 7:30 PM. For information call 917.806.0082 or http://www.TheCrucibleNYC.com
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