The Crucible - Lace Market Theatre Review

★★★★☆

It is 1692, and in Salem, accusations are flying even if witches aren’t. Arthur Miller’s “The Crucible” opens with Reverend Parris (Jack Leo) hurling accusations of witchcraft after his daughter, Betty (Chloe Davie), is injured. This accusation snowballs into a controversy that encompasses the entire village of Salem. The large cast, under the direction of Matthew Huntbach and Charlotte Thomas, brings this intricate tale of humanity and desperation to life, as the accused discover the lengths they will go to survive.

Parris lays blame firmly at the feet of his niece, Abigail (Francesca Short), whom he caught dancing in the woods with his daughter the night before her accident. Abigail’s quick thinking allows her to wriggle out of the accusation, admitting to underhanded actions after being possessed by the local farmer’s wife, Elizabeth (Kareena Sims). Short’s Abigail deftly switches from distraught, frightened child to someone colder and more manipulative. It becomes clear that she has been having an affair with Elizabeth’s husband John (David Field), and Short’s performance suggests that Abigail’s accusation is not simply a chance to save her own skin – she sees this as an opportunity to get Elizabeth out of the way. Despite this, she still conjures up a character that one cannot help but feel sorry for – the accusations that are aimed at her are in no way supported by any solid evidence, and her situation seems downright unfair.

Parris is possibly the closest thing this play gets to a villain, as Leo sneers his way through the opening scene, believing himself to be above the other villagers, whilst sacrificing his integrity and his own family to preserve his position as the village’s Reverend. In the second act, Parris gets firmly put in his place by the arrival of Deputy Governor Danforth (Nik Hedges), which is a satisfying moment in a play that is mostly downbeat with very few victories to cheer for. Fred Baker gives us a more understanding, compassionate Reverend as John Hale arrives to get to the bottom of these accusations. The arrival of Hale feels like an opportunity for the truth to finally come to light, although Hale makes very little progress in uncovering the actual situation and is ultimately ineffective. Baker gives an excellent performance as a man who makes fantastic speeches that achieve very little, particularly poignant in today’s world of posturing politicians who are all words and no action.

The second scene focuses on Mr and Mrs Proctor, as they come to terms with the accusation, and try to develop a plan to move forward and avoid Elizabeth’s execution. Dragged into this is the Proctor’s maid, Mary Warren (Eden Silk), and this culminates in a particularly fraught court case in the second half, where each of the accused gradually comes to realise that they can lay the blame on someone else by claiming to be in their possession. Throughout this tense, fast-paced scene (the actors occasionally rattle through the dialogue at incredible speed), it is Silk who demands our attention as we slowly see the reality of the situation dawning on Warren, before the realisation of what she needs to do to avoid death. Her actions mirror yet contrast with Abigail’s – Warren is a woman faced with no other choice, whereas Abigail sees this as an opportunity to further her romantic ambitions.

The court case slowly ramps up, Hedges’ Danforth and Tom Pluse’s Ezekiel Cheever naively believing everything that is said, and jumping from one suspicion to the next, adding two and two together and often coming up with five hundred. This culminates in an incredible shouting match with Field’s Proctor in the centre, all to the backdrop of Silk’s harrowing screams. This is superbly supported by Darren Coxon’s sound design, which gradually increases the tension; however, the actor’s voices do lose clarity in these more energetic moments, and it is sometimes difficult to follow all the dialogue.

It is Sims as John’s wife, Elizabeth, who gives the standout performance here, a more restrained, collected individual who offers a nice contrast to the more melodramatic characters. Her pain and anguish feel real, and when she finds herself in an impossible situation – does she admit that her husband harbours the Devil, or admit that he is an adulterer – it is riveting stuff. All of the characters in this play are complicated and three-dimensional; they each have their own motivations and fears, and yet Sims takes this to another level, a confidence in her self-control that speaks volumes without the need for tears or screaming. It switches up the rhythm of the piece at the perfect moment.

There is so much more on offer here – Maureen Nwabueze gives a passionate and at times comical performance as Parris’s slave Tituba, whilst Max Bromley and David Dunford put in strong performances as husbands whose wives have been arrested. This is a play full to the brim with character, and each one is expertly realised – although the accents occasionally take trips to other locations, it doesn’t hamper one’s enjoyment. At almost three hours, there is no doubt that this is a long, complicated play, but the intricate plot is more than enough to hold one’s attention—another success for the Lace Market Theatre.

The Artwork for The Crucible by The Lacemarket Theatre.