By CARRIE NEAL
A Seat on the Aisle
The eerie atmosphere is already building as soon as one enters the theater. Chilling instrumental music is overlaid with quotes taken from polarizing political figures; one doesn’t ever have to have heard their voices to be able to identify many immediately, and so we are unsettled before the play even begins.
Arthur Miller wrote The Crucible as a witness to the vagaries of McCarthyism. He held up a mirror to a truth we are loath to admit, our willingness throughout history to create scapegoats, to ostracize groups of people we deem “other.” Its relevance has never waned but is particularly piercing now.
The Salem Witch Trials is an ideal subject for spooky season, with a chill finally entering the air. Indeed, I had goosebumps several times, both due to the frightening nature of the subject matter and the unswerving honesty of the performances. And while set and costume design were certainly contributing factors to the success of this production, this review will focus primarily on actor portrayals, as there are so many worthy performances to highlight.
The Crucible is unique in that it leans heavily on convincing characterizations from young female actors, one in particular being very young. It would be so easy to lean into overacting or shrill unbelievability, but that’s far from the case here. As Mary Warren and Mercy Lewis, Liz Carrier and Lauren Lotzow are utterly persuasive and even alarming. Special mention must be made of young Ellie Richart, so convincing as Betty Parris.
Abigail Williams (Hannah Embree) with John Proctor (Brian G. Hartz). (Photo by Rob Slaven / IndyGhostLight.com)
Of course, one younger female actor has a weightier role than all the others: Hannah Embree as Abigail Williams. Ms. Embree brings us a deeply unsettling Abigail. One moment tender with John Proctor, the next moment vicious, she displays that same changeability in court and it’s terrifying.
There are so many standout performances from seasoned actors that it’s difficult to choose between them, but three really resonated with me. First, Doug Powers as the Reverend Parris. He carries a significant responsibility as the initiator of accusations, and he plays his part to great effect. Secondly, J. Charles Weimer as John Hale gives us one of the great character arcs of the piece. He’s extremely persuasive as one buying into the madness at the beginning of the play, but by its conclusion he’s declaiming heartrending pleas for mercy. And finally, David Mosedale is delightfully wry as Giles Corey. His role may not be one of the largest, but he makes it one of the most memorable.
But the heart and soul of the story resides with husband and wife John and Elizabeth Proctor, and director Eric Bryant could not have cast these two roles more ideally. As John Proctor, Brian G. Hartz is the stalwart beating heart of the play, fiery and full of conviction. And Morgan Morton as Elizabeth is the consummate scene partner, speaking volumes with the tremble of a lip or the quiver of an eyelid. They begin the play as adversaries and end it as tender lovers; it’s truly inspiring to watch their journey unfold.
Southbank Theatre Company has given us thought-provoking plays for a few seasons now, but they have yet to find the kind of audience numbers they truly deserve. Will The Crucible be the show that breaks the barrier, with a larger cast, greater name recognition for the playwright, and frighteningly timely subject matter? It’s certainly worthy.
The Crucible, presented by Southbank at the Shelton Auditorium on Butler’s campus, runs through Nov. 2. Savvy theatergoers will recommend buying tickets at the door to avoid hefty handling fees.
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