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| Photo: Stan Barouh |
For over a year, we’ve been
subject to the incessant accusations of “witch hunt” from our president
referring to the ongoing Russia probe.
Whether or not there is validity to those claims is under debate. #hocoarts
There were, however, unquestioned witch hunts
in our history, such as the McCarthy accusations of Communism against those
within the State Department and beyond, and until the repeal of “Don’t Ask,
Don’t Tell, the expulsion of gays and lesbians from the military.
In Arthur Miller’s classic, The Crucible, currently being presented
at the Olney Theatre Center, an actual witch hunt is portrayed. Loosely based on historical facts, Miller had
crafted a four-act play (separated by one intermission) depicting the infamous
Salem witch trials of 1692 in the Massachusetts Bay Colony. He had written this play as a parallel to the
aforementioned McCarthy era of the early 1950’s, and it captured a Tony Award
for Best Play in 1953.
Though the setting for The Crucible occurred centuries ago,
today’s culture can be examined through the lens of the play. Baseless suspicion
and the spreading of rumors on social media, for example, can have devastating
consequences.
Miller captures the horrors of
that period in a Puritanical society where the Christian Bible and state laws
were one of the same. Paranoia and
hysteria were prevalent. Grudges were commonplace
and seemingly irreconcilable. Morality ruled the day and everyone’s religious
activities were under intense scrutiny. There was no tolerance for anyone
deviating from moral laws. And many in
Salem were fearful of guilt by association, which could damage their reputation—a
major theme throughout.
Then there is the absolute
necessity for self-preservation where people would say anything and fabricate
stories to protect their own interests.
In other words, throwing people under the bus to save their own hide was
a way of life, which directly led to the tragic imprisonment and executions
that was the outcome of the witch trials.
Under Eleanor Holdridge’s
meticulous, first-rate direction, the ensemble cast of 19 talented actors leaves
nothing on the stage, and they perform like it was the last thing they were
ever going to do. The actors demonstrate
enormous levels of energy and passion and are clearly invested emotionally in
their roles. And they do it with
tremendous skill.
The plot is a labyrinth of
moving parts with twists galore, and it’s pure frightening at times. Accordingly, I will not divulge much to
detract from the dramatic effect for those who are fortunate enough to see this
presentation.
It all starts when the Reverend
Samuel Parris, played forcefully by Michael Russotto, is tending to his 10
year-old daughter, Betty (Caroline Rilette/Mia Rilette), lying lifeless in her
bed. Earlier he had discovered Betty and
a bunch of girls performing some suspicious ritual in a nearby forest though
the ringleader, Abigail Williams (played by Dani Stoller), maintain they were
merely dancing. They fall ill with no
ostensible explanation. The hysteria
among the townspeople develops whereby many are convinced witchcraft has
enveloped the town and the arrests, trials and punishment of those suspected
ensue.
Chris Genebach is exceptional in
the role of the main protagonist, John Proctor.
It was John’s affair with Abigail prior to when the play begins that led
to Abigail’s jealousy of his wife, Elizabeth Proctor (Rachel Zampelli).
Elizabeth fired Abigail as the family servant once she discovered the affair. Mr. Genebach’s final dramatic scene is
superb.
Abigail, the play’s villain,
uses this jealousy as a trigger that sets in motion the hysterical witch hunt
with her lies and ability to manipulate people. Ms. Stoller is truly effective
in this role.
As virtuous Elizabeth Proctor,
Ms. Zampelli conveys an earnest down-to-earth quality. Her poignant interactions with Mr. Genebach
in Acts II and III represent one of the play’s highlights.
Scott Parkinson is convincing in
playing the role of young Reverend John Hale from Beverly, Massachusetts. An intelligent man, Hale was considered an
expert on witchcraft. His determinations resulted in the prosecutions of many
suspected witches. Later, he regretted
his actions and tried to save the lives of the suspects by persuading them to
confess.
Brigid Cleary does an excellent
job portraying Rebecca Nurse, an elderly respected woman who was sentenced to
death after being accused of witchcraft by the wealthy Thomas Putnam (Bolton
Marsh) and his wife, Ann Putnim (Jessica Lefkow) and refused to confess.
While he has many other credits,
Olney Theatre-goers are familiar with Paul Morella from his wonderful annual
one-man performances in A Christmas Carol. In The Crucible, Mr. Morella exhibits his strong acting gifts as
Deputy Governor Danforth—another of the play’s villains. He doesn’t appear until Act III but his
impact on the overall production cannot be overstated.
Danforth is the presiding judge
at the witch trials and is commanding and inflexible in his beliefs. Mr. Morella’s tour de force performance is
something to behold.
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| Photo: Stan Barouh |
Lilian Oben as Tituba, an
enslaved black woman from Barbados belonging to the Parris family, is convincing
displaying anguish towards her accusers.
She was the first person accused of witchcraft when she admitted to
creating love potions for Abigail and her friends.
Other notable performances include
Miranda Rizzolo as Mary Warren, a Proctor family servant and one of Abigail’s
friends, and Craig Macdonald as Giles Corey, an elderly farmer who along with
his wife was accused of witchcraft and sentenced to death. However, the entire cast worked together
flawlessly thanks to the guiding hand of Director Holdridge.
Andrew R. Cohen designed a
primarily rustic set that captures the 17th century locale. Vertical
wooden boards form the walls with rows of shelves for the first two acts. Two
trap doors on the stage floor allowed the actors to ascend to and descend from
the bedroom scene in Act I. A more quasi-modernistic
set representing the vestry room of the Salem Meeting House is used in Act III
and the Salem jail in Act IV. The set also features striking clusters of wooden
boards in random criss-cross formations that framed the stage from the sides
and above. It conjured up stakes where witches were burned.
Nancy Shertler’s creative lighting
design amplified the anxiety and fear that permeated throughout. Patrick Calhoun’s sound design delivered
well-timed background music adding to the mood.
And Sarah Cubbage did an excellent job in fitting the cast in period
costumes.
The Crucible is by
no means a feel-good play. It’s serious
to the core with a few clever chuckles sprinkled among the dialogue. Though not
entirely historically accurate as far as individual characters’ ages and other
details are concerned, it still presents a grim portrait of this shameful
period in history and alarmingly shows that human foibles of that era exist
even today.
This American classic that
denotes the actual witch hunt is recommended for the historical benefit of the
story and especially to witness an extraordinary cast giving it their all.
Running time. Two hours and 45
minutes with an intermission.
Advisory: The Crucible contains adult themes and is not recommended for
children under age 13.
The Crucible runs
through May 20 at the Olney Theatre Center, 2001 Olney-Sandy Spring Road,
Olney, MD 20832. Tickets may be purchased by calling 301-924-3400 or by
visiting online.
