reviewvancouver: The Crucible

For students of theatre to take on a demanding and powerful play such as Arthur Miller’s The Crucible, they and their instructors must have tremendous enthusiasm and confidence. Studio 58 lives up to its usual high standards in this rendering of ideological manipulations of truth, fear and conscience during the witch trials in Salem, Massachusetts in the 1600s. From the opening moment, the performance is spellbinding. Masterful direction is evident as the large cast is guided through its paces without confusing the audience. With our attention focused on speakers, characters on stage are always and everywhere engaged in the moment in their actions and expressions, adding power to every word that others are speaking. The power is heightened by light and sound effects that supplement the action without distracting, and by sets that are appropriately spare and stark, complementing the historical realism of the costumes.

The actors – all twenty-three of them – deserve special recognition. From central characters to incidental supporting roles, all are to be congratulated for their focus on individual performance while contributing to the tableau on stage at any given time. The fanaticism and mendacity of Reverend Parris is very well played by Kazz Leskard. We come to thoroughly despise the central villainous character, Abigail Williams, thanks to the fine acting of Stephanie Moroz. The Reverend John Hale, a naively well-intentioned and pious pastor is brought to life by an insightful performance by Noah Rosenbaum. Alex Rose beautifully projects the uptight intensity of John Proctor, the protagonist intent on finding a way to a "truer" truth, a better good and a fairer justice. When we meet his wife, Elizabeth, we are treated to another stellar performance, by Sara Andrina Brown, whose fine and subtle talent is especially evocative in the final act. Anthony Ingram’s portrayal of a pompous Deputy Governor Danforth successfully disgusts the audience with the hypocrisy and bias of the theocratic justice system of the time. Kayla Dunbar’s performance of Mary Warren, a young woman caught on both sides of the religious hysteria in Salem, is truly fine in making real the drastic transitions her character must make.

Great performances don’t stop here. Adam Weidl makes Giles Corey’s antics funny and poignant in turn. Lindsay Winch’s portrayal of Ann Putnam’s frustration and religious conviction is powerful and striking. Ky Scott effectively shows the pragmatism and wisdom of the elderly Rebecca Nurse. And Adele Noronha’s performance as Tituba, accused of leading the young women of the community in rituals of witch craft is energetic and fine-tuned. There is not a weak performer in the cast. For this, and for the technical finesse of all aspects of this performance, faculty involved are to be congratulated. This rendition shows the depth and breadth of talent present at Studio 58.

The Crucible reflects thoughts and practices influencing world events today as much as those in 17th century Salem. To explore this idea in the company of truly fine young talent, see it.