Originally written in 1953 as a satire on the witch hunts of the House Un-American Activities Committee (HUAC), The Crucible stands out as one of Arthur Miller's greatest plays. He was convicted by HUAC of contempt, which was later overturned by the U.S. Court of Appeals. The play, well researched, fictionalizes the terrible time of 1692 in Salem.
OnStage's production of The Crucible, staged by versatile director Marjorie Mae Treger, is set partially on a high-planked riser projecting, at one point, almost to the audience. The lower portion gives the appearance of being stonework. However, it is the background of flames that helps develop the tone of the play. Movable panels define various location.
Treger's cast includes David Kelso, in probably his best role to date, as John Proctor, a man not about to cave in to the pressures of the witch hunt. Opposite him is Summer Spence, extremely convincing as wife Elizabeth. New to non-school stages is Vicky Truscott as Abigail Williams, the deceitful instigator, a false witness, as well as a one-time lover of John Proctor. Truscott, albeit very attractive, plays a villainous role equal or surpassing that of Joseph McCarthy. An excellent performance.
Rett Becker, as local Reverend Parris - a truly loathsome individual, is quite easy to hate. Opposing him in the religion department is Christopher T. Miller, Reverend Hale - a man of the cloth attempting to find justice in the trials and in his own actions. Becker and Miller develop a nice point/counterpoint in the play. Edwin Eigner (Giles Corey) and Sally S. Stockton (Rebecca Nurse) give short, intense performances, almost cameos, yet pivotal to the plot.
Nick Mata and G. Lorenzo Crosby are Judge Hathorne and Deputy Governor Danforth with Robin Felix as Bailiff Ezekiel Cheever. Cassi Jenkins, excellent as Marry Warren, plays a conspirator of Abigail, along with actresses Kelly Stinner and Bonnie Alexander. Also in the cast are Bob Christiansen, Lois Jane Miller, and Sacara Northard.
The Crucible is a penetrating play creating arduous demands on the leads, all of which meet the demands of their roles. This could not be said of some of the minor roles. Some are uneven and, the evening of my viewing, there were a considerable amount of dropped or stuttered lines. The production, however, survived these inconsistencies, demanding the audience's rapt attention.
