BWW Reviews: THE CRUCIBLE, Old Vic, July 8 2014

Laura Kate Jones

Since becoming Artistic Director of the Old Vic, Kevin Spacey has proven time and time again that he has the knowledge and understanding to constantly provide London theatre-goers with fantastic productions. Yaël Farber's adaptation of Arthur Miller's The Crucible is no exception. Though three and a half hours long, the continued intensity and drama means that the audience is flabbergasted at how quickly the time goes.

Set in 1692 during the Salem witch trials in Massachusetts, The Crucible focuses on the story of Abigail Williams, the niece of the town's latest minister, Reverend Parris (Michael Thomas), who claims to have seen many of the town's female residents with the incarnation of the devil. The play's opening scene is atmospheric to say the least - Tituba, the minister's Barbadian slave, walks around the perimeter of the now round Old Vic stage carrying a bowl of smoking herbs and chanting, while the minister's young daughter Betty lies in a trance on the bed.

One by one neighbours gather around the young girl's bedside, accusingly glaring at each other, all the while whispering rumours of witchcraft and devilry, and secrets and lies begin to unfold.

Samantha Colley is fantastic in her debut as Abigail; and Anna Madeley and the smouldering Richard Armitage as Elizabeth and John Proctor have fantastic chemistry and play the parts with so much raw emotion that is sometimes painful to watch as the village is torn apart.

Jack Ellis and Adrian Schilling as the witch-hunting Danforth and Reverend Hale respectively offer strong performances in their supporting roles as they both struggle to determine who is telling the truth.

The set is kept simple throughout, ensuring the audience's focus remains on the characters and the dramatic plot unfolding on stage, though the ragged curtains covering the circle and balcony capture the coldness and despair of Miller's play - something which is backed up by the haunting soundtrack from Richard Hammarton which plays during set changes. Tim Lutkin's lighting is used to maximum effect creating bar-like silhouettes which shine down on faces as accusations are hurled.

The tension comes to a head in the final scenes of the play, causing more than one audience member to reach for their tissues, possibly with the pretence that they're not crying - they just have something in their eye.

The Crucible runs at the Old Vic.