Theatre Review: The Crucible, at The Crucible, Sheffield

Anoushka Lucas and Simon Manyonda in The Crucible. Image: Manuel Harlan

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For those who have read Maryse Condé’s masterpiece, Moi, Tituba Sorciere, Arthur Miller’s work might resemble a particle in a world of worship, witchcraft and Imaginarium. Although Tituba isn’t the main character of the story I’m recounting ahead, she’s still a pivotal participant in not only a witch-hunt but also the damning effects of white women’s tears. And through his ability to triumphly transcend any stage, Anthony Lau’s consuming production succeeds in all spheres without a doubt. Through an in-depth analysis of the dark, sinister and frantic power religion can have, The Crucible is the story of a community struck by fanaticism while simultaneously grappling with some of the truest colours of human nature: lies, torture, vengeance and pettiness.

At its very opening, the play, ironically set at The Crucible, oddly graces us with a fully light and bright space alongside a silent stage that is abruptly populated with chilling and enigmatic voices. It is then that we realise it is impossible to overlook the alliance between the name of the theatre and the play itself. Surprisingly, despite its 17th-century bells, Miller’s play resembles our contemporary realities through its approach to righteousness, constant witch-hunting (cancel culture) and the aversion to difference in Western culture (othering). All performances are impressive and their ability to navigate from righteousness and fanatic devotion that eventually leads to mayhem is outstanding.

            Based on the Salem witch trials, Arthur Miller’s play depicts the moment a group of girls were caught dancing, conjuring spells and chanting in the woods, which eventually led to them being accused of witchcraft. Due to the impotence to freely express themselves and the possibility of execution hanging suddenly hovering over their minds, the girls' survival instincts emerge and put the lives of the entire village at stake. By claiming God is using them as tools to smite the evil and witchery in others, they quickly become a slaughtering pack aiming at anyone who has ever wronged them.

            Abigail, the leader of the pack, doesn’t miss a bit and wrongfully accuses Elizabeth Proctor (Anoushka Lucas), her former employer, in an act of vengeance and jealousy after she finds out Abigail and her husband, John Proctor (Simon Manyonda) had been involved. Consequently, as pressure arises in the village, others join the girls for their benefit, rejoicing greedily over old grievances and giving their enemies plenty to worry about as they now face trial for witchcraft, too.

Throughout the play, despite the immense power Abigail and her group have over the church and the poor justice system in Salem, the tale also highlights the challenges within John and Elizabeth Proctor's marriage and the dire repercussions of adultery. While Elizabeth is challenged emotionally by her husband’s sins, their marriage and her self-soothing devotion are forced to outlive his actions. And although it is extremely hard to disregard John’s actions, as a married man who seduced a teenager, and how painful the entire ordeal is for a pious Elizabeth, who suffers from postnatal depression, with his agility Simon Manyonda pushes the public towards a wave of empathy and compassion. The restoration of faith, hope and drama settle at the centre of the relationship and leave viewers praying for the best. Undoubtedly, the most crucial point is defined by John Proctor’s ineptitude in stating all 10 commandments when requested, leaving “Thou shalt not commit adultery” behind. In the end, his wife Elizabeth steps in for him as a reminder that she is a ‘ride or die’ and blames herself for his sins.

Moreover, despite the despising and unforgiving actions of the villagers, the biggest wrongdoing came from the state for whom the veracity of facts became a major political inconvenience, something we all know too well. And nonetheless, Miller’s lack of recognition that Abigail is simply a child benefiting from the innate privilege she was given at birth as a white girl, also leaves us with a bitter taste. In the face of circumstances, she was still a young girl dealing with rejection, stigmatization and the abusive silence she was forced to by her former employer.