By Carol Davis
SAN DIEGO–Two heads, they say, are better than one. In the case of Moxie Theatre and Intrepid Shakespeare Company coming together to produce the luscious Arthur Miller’s The Crucible, it’s a streak of genius. With Moxie’s Jennifer Eve Thorn and Intrepid’s Christy Yael at the helm co directing, this is one hell of a production.
Miller wrote the play in 1953 at the height of the McCarthy hearings. Remember those? The House Committee on Un-American Activities headed by Joseph McCarthy was seeking out boogey men (particularly in the entertainment industry) who at one time had attended Communist meetings when it wasn’t a crime to do so.
At that time, the committee formed a Black List of those found to be in contempt for taking the 5th and refusing to answer questions put forth by its members. In the aftermath of the hearings many lives of the creative talents of the day were ruined. It was in essence a witch-hunt that this country allowed to happen.
It was 1956 when Miller was called to testify at the hearings based on his leftist leanings and the fact that he did, indeed, attend some meetings. He was cited for contempt of Congress for not naming names of others, (unlike Elia Kazan, Miller’s friend at the time who did name names), who were at the meetings with him. He was later exonerated.
Miller’s Crucible is based on another witch hunt; the Salem Witchcraft Trials that took place in Salem, Massachusetts. They were happening not just in Salem but also in Beverly, Marblehead and Lynn Mass. as well.
Though the play is a work of fiction, and the similarities between 1959 and 1692 (or maybe even today) can’t help but be compared, somewhere in the translation of both fiction and fact the truth becomes the victim. In actuality, 19 of the good folks of Salem were hanged; four died in prison while hundreds more languished there before an end was put to it all.
At the political heart of Miller’s play are religion, fear, superstition, false accusations, hysteria and outright lies. The human tragedy at the center of it all in the small community of Salem, besides those just going about their business, were John and Elizabeth Proctor, a farm couple, (Sean Cox and Lisel Gorell-Getz) who suffered from the trickle down effects of misunderstanding, panic, lies, revenge and jealousy.
The play opens in a wooded area (Jennifer Brawn Gittings) at night when a few of the local teenagers Abigail Williams (Callie Prendiville), Mary Warren (Kelly Iverson) and Mercy Lewis (Courtney Howard) are found dancing naked, drinking chicken blood and casting charms to the local boys. Tituba (Lynaé DePriest), a native of Barbados and slave to Reverend Parris, was suspected of being the leader.
When Reverend Parris (John Sachs), minister of the Salem Church, finds them this particular setting one night they fall into a trance, swoon and faint. The paranoid Parris believes witchcraft is to blame for the girls’ behavior and he sends for Reverend Hale (Justin Lang), who is considered an expert in the field of witchcraft.
Since the penalty for witchcraft then was hanging, the girls pled for their lives by admitting to practicing devil worship. While threats of death loomed over the girls, they were willing to name the names of others, anyone if their lives were spared.
Set between the blatant lies the girls told, to the arrival of John Hale and the infamous Salem trials that followed, what ensued sent their village into panic that set the stage for Miller’s drama.
One of those accused was Elizabeth Proctor in whose home Abigail Williams worked. Unfortunately for both, Elizabeth’s husband John had a fling with Williams and she was dutifully discharged. That was a perfect opening for her to get back at both Proctors.
Rumors grew, the decent yet naïve farm people who said anything suspect were rounded up, neighbors turned against neighbor and the situation became ugly. But nothing proved to be more sickening than the witch-hunts and the so-called trials by the local, holier than thou Puritanical clergy and their henchmen.
Jennifer Brawn Gittings’ sparse set with a series of multi purpose poles in the background and simple wooden furniture that rolled in and out, combined with Christopher Loren Renda’s shadowed lighting and Matt Lescault-Wood’s drum beating sound along with Jennifer Mah and Heather Premo’s period clothes set the tenor for the drama that followed.
Miller, who was considered a master observer and powerful writer, zeros in with just right tone detailing this horrific time in history. The fine cast (of over 18) assembled move about with ease while the drama, under the two women directors, finds it’s way to a stunning and breathtaking conclusion.
Sean Cox and Lisel Gorell-Getz as John and Elizabeth Proctor are perfect as the couple whose story arcs from rumor to suspicion to shackles. Cox reaches deep into his emotional well and proves to be completely compelling as the anti-hero. We watch his assuredness turn from anger then to astonishment, bewilderment and confusion finally to facing his own truth.
As Goodie Proctor, Lisel Gorell-Getz is spot on perfect. Her goodness and belief in self is put to the test many times and she passes each one. Her directness and upright position never waver even while she watches the man she loves wrestling with himself on matters of right and wrong, pride and humility.
Standouts in the large cast (and they all hold their own) include Justin Lang as the Reverend Hale. His job was to identify those who practice witchcraft. Lang’s character kicked in when saw the handwriting on the wall and realized this was a real witch-hunt carving out a life of its own.
Callie Prendiville’s manipulative and nasty Abigail made me want to really to slap her into telling the truth. Kelly Iverson’s Mary Warren took on a different color as she wavered back and fourth between standing up to Abigail and siding with her. Her performance deserves kudos.
Jim Chovick, who was not quite up to prime time on opening night but has some of the most powerful lines in the play, was more than scary when he was on target. As Deputy-Governor Danforth his job was to prosecute, pass judgment and order the hangings of those he found guilty. In other words he was prosecutor, judge and jury.
In lesser but moving roles Rhona Gold as Rebecca Nurse, whose work in delivering babies was well respected in the town, but waned when she refused to confess to witchcraft is persuasive and heart rendering. Ralph Johnson is fine as Judge Hathorne who wanted to get in on the action. David S. Cohen as Giles Corey famous for knowing the law since he filed lawsuits about every petty thing comes across as true to life and Lynaé DePriest convinces as Tituba.
Overall in the light of our current political climate, Miller’s The Crucible couldn’t be timelier. In the absence of a Danforth and Parris, Limbaugh and his ilk have stepped in. Moxie and Intrepid Theatre’s production couldn’t be more relevant or spot on perfect.
The last time I recall seeing a production of this show was in 1989. Because of the size of the cast and cost of mounting such a show, it is rarely produced. Hats off to these smaller theatre groups for tackling such a huge project. I highly recommend you see it now.
See you at the theatre.
Dates: October30th –December 5th
Organization: Intrepid Shakespeare Company and Moxie Theatre
Phone: 858-598-7620
Production Type: Drama
Where: 6663 El Cajon Blvd. Suite B San Diego, CA 92115
Ticket Prices: $20.00-$40.00
Web: moxietheatre.com/the crucible
Venue: Moxie Theatre
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Theatre critic Davis is based in San Diego