[NEohioPAL] Berko review: THE CRUCIBLE (GLTF)

[Roy Berko]

‘CRUICIBLE’ disturbs, illuminates and impresses at
Great Lakes Theater Festival

Roy Berko
(Member, American Theatre Critics Association)

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A number of years ago, the faculty of the college at
which I was teaching, decided to do a sit-in due to
what we perceived to be an improper “witch hunt” aimed
at the faculty leadership. I decided to  spend my
class time reading aloud from ‘THE CRUCIBLE’, a play
now being produced by the Great Lakes Theatre
Festival.  I did so because I thought it was a perfect
lesson for young minds to hear the brilliant words of
Arthur Miller regarding misguided attempts to
manipulate and control people.

Miller, one of America’s greatest modern playwrights,
used the theatrical concept of historification as his
writing device for ‘THE CRUCIBLE.’  The technique is
to write a play based on true or near true actions of
a different era to represent a present day set of
circumstances.  

Miller’s script was penned in 1953 as a protest
against Joseph McCarthy’s witch-hunt for Communists in
the government and entertainment industry during the
early 1950s.  The country was in hysteria for fear of
Russia and its emergence as a major power.  McCarthy
fed on that hysteria, much like the religious fanatics
of Massachusetts colony set upon so-called witches
because of the hard times facing the people of the
late 17th century.  Miller was questioned by the House
of Representatives’ Committee on Un-American
Activities and held strong  feelings against the witch
hunting being done and how it had ruined  many lives.

The play is relevant today as the Bush administration,
using the hysteria of 9-11, has conducted witch hunts
and taken away citizen civil rights.    Much of this
was based on a parallel to the play’s line, “You are
either with us or against us.”   You are a “good
American” as defined by this administration, or you
are a traitor.

The play also reflects attitudes of the present day
religious right, who, much like the Salem religious
fanatics, hunt out those not agreeing with their
interpretation of what is “right and wrong.”  They
attack homosexuals, those who believe in abortion, 
and those who champion stem cell research, for
“poisoning” the “good” folk. 

The story concerns an accusation against Goode Proctor
by a teenaged girl who, after having a sexual affair
with Proctor’s husband, John, accuses Goode Proctor
and others of being witches.  The chief magistrate,
much like Joseph McCarthy, closes his eyes to facts
and is swayed by his own agenda.  In the process, the
question of one’s reputation comes center stage. 
Proctor cries out, after refusing to sign a document
in which he would falsely agree that he has seen the
devil, “Because it is my name.  Because I cannot have
another in my life.”

Great Lakes Theatre Festival director Drew Barr not
only understands the underbelly of the play, but has
the ability to develop the script’s emotional and
logical meaning.  

>From Narelle Sissons’ stark and disturbing bare
plank-wood set, to Rick Martin’s overly bright
lighting, to Fitz Patton’s sometimes unnerving music,
the entire production screams, “extreme!”  I was
uncomfortable from the start of the play.  In this
case, uncomfortable is positive.  It made me aware of
each of the emotionally tearing lines and each
underscore of man’s inhumanity to his fellow man.

Andrew May is excellent as John Procter.  His last set
of speeches, the emotional fulcrum of the play, were
stirring.  He was, in fact, a man caught  between his
need to be a good father and husband, and live a life
of purpose and self-respect.   We saw his self-respect
soar, as his resolve came forth.   

Aled Davies, as the Deputy Governor, was scary in his
reflection of what could well-be some of the present
day Supreme Court judges, closed to all but narrow
views of what it means to be just.  

Jeffrey Hawkins transitioned well as the strongly
opinionated John Hale, the reverend who eventually
sees the light and realizes the harm caused by being
stiff-necked.  

As was needed, I hated Abigail Williams, the master
manipulator, as portrayed be Sara Bruner.  David
Anthony Smith was also appropriately obnoxious as the
self-centered Reverend Parris.

CAPSULE JUDGEMENT:  It is a shame and a blessing that
a play like ‘THE CRUCIBLE’ has to exist.  However, as
witch-hunts continue, the theatre must have a voice
like Miller’s to protest the taking away of rights.   
And, if such messages must be given a life, then they
should be presented as effectively as the GLSF
production.

‘THE CRUCIBLE’ runs through  April 27 at the Ohio
Theatre in Playhouse Square in tandem with ‘ALL’S WELL
THAT ENDS WELL,’ which opens on April 11 and runs
through the 25th.  For ticket information call
216-241-6000 or go to www.greatlakestheater.org


Roy Berko's blog, which contains theatre and dance reviews from 2001 through 2007, as well as his consulting and publications information, can be found at http://royberko.info
      
Roy's theatre and dance reviews appear regularly on NeOHIOpal, an on-line source.   To subscribe to this free service via the World Wide Web, visit http://mailman.listserve.com/listmanager/listinfo/neohiopal.  His reviews also appear on www.coolcleveland.com


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