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| J.R. Hontz and Nathan Rosen |
Over the past eight years, we’ve been subject to the
incessant accusations of “witch hunt” or “hoax” in the political arena. 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 intense classic, The Crucible, currently being presented at Silhouette Stages, an
actual witch hunt is portrayed. Loosely
based on historical facts, Miller had penned a four-act play (consolidated into
two in this production) depicting the infamous Salem witch trials of 1692 in
the Massachusetts Bay Colony. He had
written this play as an allegory 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 and
misinformation 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.
For Silhouette Stages, The Crucible is most likely
the first true dramatic play the theatre had produced in its 20 seasons. Under Henry Cyr’s meticulous, first-rate
direction, the ensemble cast of 21 talented actors leaves nothing on the stage,
and they perform like it was the last thing they were ever going to do.
With enormous levels of energy and passion, the acting
displayed is eye-popping and at times, ear-popping. The amazing actors through
Mr. Cyr’s direction make the audience feel like they are right there on stage while
the chilling drama unfolds. These actors are clearly invested emotionally in
their roles.
The plot is a labyrinth of moving parts with twists galore,
and it’s purely frightening at times.
Accordingly, I will not reveal much to detract from the dramatic effect
for those who are fortunate enough to see this presentation. And I certainly
will not divulge the ending.
"The amazing actors through Mr. Cyr’s direction make the audience feel like they are right there on stage while the chilling drama unfolds."
It all starts when the Reverend Samuel Parris, played
forcefully by Nick Cherone, is tending to his 10-year-old daughter, Betty (Shannon
Monroe), 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 Carly Brownstein), 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.
Matt Scheer is exceptional in the role of the main
protagonist, John Proctor, a farmer. It
was John’s affair with Abigail prior to when the play begins that led to
Abigail’s jealousy of his wife, Elizabeth Proctor (Glennyce Lynn). Elizabeth
fired Abigail as the family servant once she discovered the affair. Mr. Scheer’s final dramatic scene is superb
and is convincing with an expansive range of emotions.
Abigail, a principal villain in the play, uses this jealousy
as a trigger that sets in motion the hysterical witch hunt with her lies and
ability to manipulate people. Ms. Brownstein is truly effective in this
role.
As virtuous Elizabeth Proctor, Ms. Lynn conveys an earnest
down-to-earth quality. Her poignant
interactions with Mr. Scheer at various points in the play represent one of the
play’s highlights.
Maxwell Wolf is compelling 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.
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| Carley Brownstein and Delaney Gregg |
Suzi Eldridge 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 (Michael McDonald) and his
wife, Ann Putnam (Rebecca Hanauer) and refused to confess.
Veteran performer J.R. Hontz exhibits jaw-dropping acting talent
as Deputy Governor Danforth—another of the play’s villains. He doesn’t appear until later on 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. Hontz’s tour de force performance is something to behold.
Wendy Messick as Tituba, an enslaved Black woman from
Barbados belonging to the Parris family, is convincing, displaying anguish
towards those who framed her. She was
the first person accused of witchcraft when she admitted to creating love
potions for Abigail and her friends. Tituba was sentenced to prison with harsh
conditions along with Sarah Good (Kaylee McDonald). Those conditions led Tituba
to become insane.
Other notable performances include Delaney Gregg as Mary
Warren, a Proctor family servant and one of Abigail’s friends, and Nathan Rosen
as Giles Corey, an elderly farmer and close friend of Proctor whose wife was
accused of witchcraft and sentenced to death. He was sentenced to death as well
for his refusal to cooperate. Mr. Corey
provided some of the few opportunities for comic relief. However, the entire cast worked together
flawlessly thanks to the guiding hand of Director Cyr.
Rounding out the cast are: Elena Powell as Susanna Walcott,
Rose Gerson as Mercy Lewis, Brian Doctrow as Francis Nurse, Judah Isaac
Canizares as Ezekiel Cheever, Brian Sackett as John Willard, John Sheldon as
Judge Hawthorne, and Megan Mostow Kaiser as Martha Corey.
The simple set designed by Sammy Jungwirth features clusters
of wooden boards in random crisscross formations that framed the stage from the
sides and above. Embedded within the pattern were several crosses, a symbolic
touch.
Mr. Jungwirth is also the lighting designer, which was quite
effective until midway through the first act on the night this performance was
reviewed. The lighting board in the auditorium conked out, and the remainder of
the play had to be performed with stage lights only, thus limiting the desired
dramatic effects of the planned design, which would have highlighted the
anxiety and fear permeating throughout the production.
To his credit, Director Henry Cyr, who is also the theatre’s
artistic director, addressed the audience prior to the second act to explain
the situation. Kudos to the cast and crew for plowing through with their
performances so remarkably. Hopefully, this was a one-time occurrence.
Mr. Cyr is also the sound designer. He ensured that all
dialogue was heard clearly. There are numerous instances of high-volume interactions
among the cast including screaming, so be prepared.
A special nod goes to costume designer Zen Tabligan, who
fitted the cast in authentic, colonial attire, lending even more reality in
depicting 1692 Salem.
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 an actual witch hunt is
recommended for the historical benefit of the story and especially to witness
an extraordinary cast giving it their all. Silhouette Stages does a splendid job in bringing life to the story.
Photos: Shealyn Jae Photography
Running time. Three hours with an intermission
Advisory: The Crucible
contains adult themes and is not recommended for children under age 13.
The Crucible plays on weekends through October 26 at
the Slayton House Theatre, 10400 Cross Fox Ln, Columbia, MD 21044. For tickets,
call 410-730-3987 visit here.
