Review of ‘The Crucible’: “What in the devil has comedy got to do?”

Arthur Miller’s timeless play relives on The Globe’s stage, in a new atmospheric production running until the beginning of summer. Guillermo Nazara shares his views on the show, to let us know if its approach to the classic is either bewitching or should go to hell.

Yesterday, it was corn that made us choke. Today, it’s the wheat that’s causing the infection. Anyone familiar with the infamous Salem trials has probably heard of this theory: a germ contaminating the harvests as the cause of the strange behaviours the impressionable Puritans linked to Satan’s work.

Some experts support the idea. Others have categorically denied it. Whatever the reality was, Arthur Miller’s focus was on another subject. To him, the accusations were only further evidence of humanity’s dark nature – materializing, for the umpteenth time, in the volatile political landscape he was living in, where everyone was, once again, calling everyone a witch (for lack of a better consonant).

We haven’t waited long in the London scene for the return of arguably one of the best American plays ever written. A personal fave, any new production of Miller’s signature piece deserves as much excitement as concern from my side. After all, no matter how fine the quality, a precious gem is always delicate and prone to shatter.

Director Ola Ince’s take on the material, which opened at London’s Shakespeare’s Globe last night, has preserved its integrity to a great extent. However, the cracks are still showing. An immersive version exploiting the venue’s ancient-looking ambiance, the staging is admittedly a triumphant endeavour. It’s visually arresting and remarkably transporting – giving us the feeling of being a first-hand witness in 17th-century Salem and enhancing its authenticity through the use of a historically plausible Irish-influenced accent.

But Miller’s exquisite writing can’t be fully supported by eye-catching images. The strength of the script does part of the trick by itself. Brilliantly paced and flaunting such extraordinary understanding of tension and structure, audiences’ efforts to escape the piece’s unwavering grip are futile at best. Yet, even his mastery can’t dodge the effects of improper choices.

The production’s grandiloquence might be a treat for the eyes, but the use of such a massive, distant space rampages part of the piece’s soul. Shakespeare’s Globe replicates the Bard’s original working place. As such, its shows should meet the demands plays of the time did – which, in summary, translates into hyperbolic, over-projected performances that guarantee the attendees’ comprehension.

Miller created his oeuvre with a very different mindset. Intimacy is a vital part of the text, and any attempts of exaggeration compromise the way it lands. Sadly, this occasion has proved to be no exception – leading to an irritating farcical tone that betrays the true spirit of the play.

Surrounded by laughter, some of which sounded wistfully unintentional, many renditions lack the robustness and complexity the roles require to land.

Hannah Saxby’s interpretation of Abigail Williams is short of layering – struggling to bring out the character’s brand insidiousness and unlikability. Gareth Snook exudes elegance through his heightened approach to Deputy Governor Danforth, presumably inspired by Paul Schofield’s legendary film performance. Yet, the menacing aura that’s crucial for his personage never materializes. Gavin Drea, as John Proctor, makes the only memorable appearance as a lead, delivering a compelling act that could benefit from some more depth but anyhow builds a commanding presence onstage.

One hell of a play packed with uncanny resonance in today’s world, The Crucible enchants audiences through its engaging narrative and enthralling design. Nonetheless, the production doesn’t possess the pathos and profundity necessary for the whole potion to brew. A cauldron of mixed receptions, this latest take is, in some aspects, a knowledgeable exercise – but with several flaws to exorcise.

All pictures credit to Marc Brenner.

The Crucible plays at London’s Shakespeare’s Globe until 12 July. Tickets are available on the following link.

By Guillermo Nazara