Rumour, accusation, jealousy, and envy swirl around in this strong production of Arthur Miller’s classic play.
Based around witch trials in the US town of Salem, the play is also an allegory for the 1950s searches for communism in America, with Miller himself later being House of Representatives’ Committee on Un-American Activities.
While the linguistic and logical fallacies that enabled the paranoia of both sets of witch hunts is clearly present, director Joe Seeney’s production firmly places it in the 17th century. The fractious nature of the town community is obvious from the outset, with suspicion and nervous compliance growing more and more powerful as the play progresses.
This is a long play with a big cast, but the powerful and engaging performances mean it feels shorter than its three hour run time.
As wronged wife Elizabeth Proctor, Hollie Harrington gives a masterclass performance: cool but direct in early scenes, broken and distraught at the denouement. Lewis Aves, as her husband John, closely matches, again demonstrating an impressive range throughout his character’s tribulations.
Their lead accuser Abigail is played by Eloise Stadden, who convincingly flitters from panicked, rejected crush, to master manipulator, toying with the audience as much as the on-stage court that condemns her fellow townsfolk. Ellis Parsley impresses as Mary Warren, another of the young accusers at the centre of proceedings.
David McCabe brings a curious sensitivity to his role as Rev John Hale, contrasting brilliantly with the inscrutable certainty of Barney Matley as Judge Danforth.
The blocking of the first scene makes some of the early set up inscrutable, not helped by some super-speed delivery by some minor parts on the first night; while the stage also got pretty busy later, it got less in the way of delivery.
I wasn’t entirely convinced by a harsh spotlight effect at the end of each act: the performances were strong enough not to need literal highlighting, and it contrasted a little too much with the mostly naturalistic lighting – but equally it didn’t spoil anything.
The power of Miller’s writing and the horror of the historical narrative are reason enough to be interested in this, the startlingly good central performances are compelling causes to see it. Much of the play is about pretence: this felt all too real.
- The Crucible continues at Maddermarket Theatre, Norwich until Sunday, 15 November 2026, tickets £10.50-£16.80.