Chronicle January 2021

34 ST EDWARD’S CHRONICLE

Arthur Miller’s The Crucible By Louise Duffy, English Teacher

Arthur Miller’s haunting ode to McCarthyism and the ‘Red Scare’ poignantly reflects the nuances of a society beset by the frenzy of the witch trials of the 1690s. This depiction of life amid a pandemic, not dissimilar to our own modern-day struggles, evokes a strained atmosphere of dread, confusion and fragility in Salem, starkly brought to the stage by David Aldred and Katrina Eden, assisted by Phoebe Simmonds.

From the outset of the play the shadowy figures of the girls who are to decide the fate of many so-called ‘witches’ giggle to the propulsive rhythm of a unique blend of baroque and techno music, courtesy of Bligh Henshilwood. The

Putnam, played by Theo Weldon, is similarly concerned for his reputation and his wife and gives scathing commentary while his wife Ann Putnam, played by Freya Burdon, is overwrought by the death of her children. Nia Willis’s measured portrayal of the experienced

puritanical simplicity of the costumes and Clive Stevenson’s set design, as well as the social distance maintained in the production, reflect the emotional distance of the community of Salem as the witch trials become ever harsher and more controlling. A mystical haze drifts across the stage, a physical manifestation of the mystery that will forever cloud the true nature of the events in Salem. Abigail Williams, played brilliantly by Abi Drennan, weaves her pathological lies and asserts control over the other girls as she realises how sending up the cry of ‘witch’ may ultimately be to her benefit. Her manipulation of others is shown with a subtle tonal shift between her pleading with her uncle, to the demanding, cutting diction when she instructs the girls, as she works her deception. The girls, portrayed by Eva Lamb, Jemima Paganuzzi and Millie Jones, are desperate to avoid persecution and there are parallels with our modern-day blame culture. Julian Ford’s devout Reverend Parris shows his frustration at the stain that witchcraft will bring to his house and parish; his flashes of temper at the inadequacies of his charges reflect the level of patriarchal control in the 17th century. Thomas

Goody Nurse offers a soothing balm to the burgeoning hysteria of the frightened villagers. Seated and grounded, she endeavours to remind the adults what it was like to be a child, with their ‘silly seasons’ and ‘mischief’ which she argues could readily run the devil ragged. Keegan Boyd as Giles Corey offers lighthearted comments, a welcome contrast to the darker humours of the play. He ultimately regrets this frivolousness as he becomes, similarly to John Proctor, a man broken – and ultimately killed – as a result of the unjust persecution of his wife. The arrival of Charlie Scales as Reverend Hale – demure, reserved and quietly confident – renders the larger egos of Putnam, Proctor and Parris redundant. Omolara Sowande gives a strong performance as Tituba, wringing her hands at the injustice as Abigail becomes increasingly confident. Her darting eyes highlight the internal conflict as the community fractures around these accusations. The chanting of the names of the accused descends into a transition with ‘ Hang the Witches’ by Zach Davis, amplified by the typed backdrop which reflects the magnitude of the witch hunt.