Review: THE CRUCIBLE at The Granite Theatre

Legendary playwright Arthur Miller said, “I think the job of the artist is to remind people of what they have chosen to forget.” The Granite Theatre’s outstanding production of his renowned, award-winning drama, ‘The Crucible,’ reminds audiences to not just remember the past but how essential it is to remain aware and informed of present day public affairs and current events, because--as the old adage goes--“those who forget history are doomed to repeat it.”

‘The Crucible’ premiered on Broadway in 1953 and won the Tony Award for Best Play. It has since been revived several times (most recently in 2016), was adapted for the screen in 1996 (starring Daniel Day-Lewis), and inspired a collection of Contemporary Stage works, including “John Proctor Is the Villain” and “Becky Nurse, Witch of Salem.”

Based on the Salem witch trials of the late 17th century, Miller wrote ‘The Crucible’ as a parable of the McCarthy era, when the United States government accused citizens of communist beliefs and activity. Granite’s production begins with a slideshow of powerful images throughout history reflecting persecution and injustice, ranging from as recent as the Cornell Seven to past periods including Women’s Suffrage, the Civil Rights Era, and the Holocaust.

The series of tragic events begins when a group of young women go dancing in the woods and are interrupted by Reverend Samuel Parris (Russ Ekstrom), who immediately presumes witchcraft when one of the women, his daughter, Betty (Kendyll Gaccione), loses consciousness. As rumors of the occult and voodoo spread throughout town, the group’s ringleader (and the Reverend’s niece), Abigail (Carly Mastriano), insists they were doing no wrong, when in fact they were attempting to place a curse on Elizabeth Proctor (Tara Golson), her former employer and the wife of Abigail’s former lover, John (Stephen Clarke).

When Parris recruits his fellow Reverend, John Hale (Ken Ko) to investigate, Abigail falsely claims that her friend, Tituba (Maura West), forced her to drink blood. To avoid punishment for witchcraft, Tituba confesses that Satan has arrived in Salem and everyone is at risk of his influence. Soon thereafter, even some of the town’s most prominent citizens are suspected of blasphemy and sentenced to death. When the Proctor’s maid, Mary (Kelly Rae LeGault), warns her employers that Elizabeth is on the watch list, John persuades her to inform Reverend Hale that Abigail’s accusations are defamatory and dishonest. Let it suffice to say, things don’t exactly go according to plan.

The story itself is undeniably compelling, and its historical significance makes it all the more shocking. Marla Ladd’s mindful, steady direction perfectly complements the ominous, unsettling circumstances of the script, along with the smoky, dark, minimalistic set. The overarching miscarriage of justice and unfair treatment of these individuals unfailingly raises feelings of outrage from the audience, partly out of concern for the innocent, but also because it reminds us of its relevance today.

If there is a regional theater award for best ensemble, the cast of ‘The Crucible’ will be a top contender. Every performance is fraught with emotion and intensity, and the boundless kinetic energy is prevalent throughout the swift two-and-a-half hour running time.

Clarke’s portrayal of the unwavering John Proctor is extraordinary, and his imposing stage presence demands–and deserves–the audience’s attention. His disposition is mostly on the defense, but his softer, remorseful side surfaces during his scenes with Elizabeth, and they hit just as hard. Golson is magnificent as the dignified Elizabeth who never loses her demeanor despite the uncertainty of her situation. When she stands before Judge Danforth (Christie Max Williams) to verify her husband’s infidelity, the stage drips with tension and anxiety.

Mastriano’s remarkable performance as the malevolent, devious Abigail is as chilling as it is charming. Abigail is not devoid of emotion but criminally misguided and disillusioned, and Mastriano seamlessly conveys her deranged frame of mind. As the easily manipulated Mary, LeGault manages to garner both sympathy and resentment from the audience with her fiery portrayal of the pained, conflicted maid.

The always admirable Ko delivers another noteworthy performance as the unyielding Reverend Hale, whose eleventh-hour change of heart proves immaterial, and Williams is impressive–and frighteningly good–as the hard-nosed Judge Danforth. Ekstrom is terrific as the testy Reverend Parris, and Michael Souney deserves honorable mention for providing a few funny, lighthearted moments as the sarcastic, undeterred Giles Corey.

In all my years of frequenting theater, I am embarrassed to admit that despite having read the play and seen the movie, I had never seen ‘The Crucible’ on stage. Granite Theatre’s well-directed, superbly-acted, exceptional production has set the bar high for any future presentations.

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