Arthur Miller’s 1953 play is righty considered a modern classic. On the page, it’s a haunting drama about the infamous Salem witch trials of the 1690s; in production, it’s about collective hysteria, truth, lies and the dangers of ‘group think’. In its day, the play was a clear comment on McCarthyism in the United States and the dangers of popular persecution.
How apt then, that now in the era of Lucy Connolly, multiple threats to freedom of speech and ongoing debate about who controls the narrative, that this should be the first modern American play staged at Shakespeare’s Globe in Bankside.
The authentic space here goes a long way to echoing the streets of Salem. And the set and costume designs by Amelia Jane Hankin lean into a traditional dramatic staging. There does seem to be a diminution of the supernatural elements in this production and that’s a shame given the divisiveness of tightly held beliefs, now just as much as then.
The performances are strong, especially from Gavin Drea as John Proctor, Phoebe Pryce as the unhappy Elizabeth Proctor and Gareth Snook as Deputy Governor Danforth. Hannah Saxby is engaging as the servant girl Abigail and Steve Furst is delightfully unpleasant as Reverend Parris. There’s some well-placed music from the five players in the balcony above the stage, although the songs by composer Renell Shaw sometimes seem strangely at odds with the solemnity of the text.
Herein lays the difficulty with this production. Director Ola Ince seems torn between a naturalistic interpretation of the text and something more open and accessible. Much of the script seems to be played with a comedic aspiration when really there is nothing to laugh at. Indeed, given the state of the world right now, a more dramatic presentation could be exactly what the zeitgeist needs.
It is, of course, all about the text and much of Miller’s dialogue gets lost in poor projection and inconsistent enunciation, both exacerbated by the vagaries of performing in an outdoor space. And while the cast and crew can’t control the numerous helicopters inconsiderately hovering overhead it would probably be wise to pause occasionally if necessary. There is little point pushing on and delivering key lines when the audience can’t hear them and is clearly distracted, looking skyward at the source of the disturbance. Perhaps a convention to pause and let it pass would be appropriate.
Read: Theatre review: The Fifth Step, Soho Place, London
Overall, the pacing here seems uneven and at three hours, including interval, the play does require considerable buy-in from its audience. A little tightening of proceedings might help maintain the audience’s engagement and enthusiasm.
The Globe is unique is making standing tickets available for just £5 or £10. That’s a fabulously cheap way to experience a classic play in a wonderful setting on the Thames.
The Crucible, Arthur Miller
Shakespeare’s Globe, Bankside, London
Director: Ola Ince
Assistant Director: Lindsay McAllister
Designer: Amelia Jane Hankin
Composer: Renell Shaw
Movement Director: Ebony Molina
Cast: Sarah Belcher, Sarah Cullum, Gavin Drea , Joshua Dunn, Steve Furst, James Groom, Joanne Howarth, Molly Madigan, Aisha-Mae McCormick, Stuart McQuarrie, Sarah Merrifield, Scarlett Nunes, Glyn Pritchard, Phoebe Pryce, Hannah Saxby, Gareth Snook, Jo Stone-Fewings, Howard Ward and Bethany Wooding
Tickets: £5 to £80
The Crucible continues at the Globe until 12 July 2025.
