‘The Crucible’ Offers Intense Drama at Silhouette Stages

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.

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.