Tag Archives: Arthur Miller

John Proctor is the Villain

On Demand, Play March 17, 2024 Leave a comment

Writers are often told to write what they know.  Playwright Kimberly Belflower has gone several steps further.  In John Proctor is the Villain she has boldly written from her very marrow, jangling the skeletons in our collective social-values closet.  Raised in Appalachian Georgia, Belflower sets her piece in a one stoplight town in her home state, using the locally accepted ways and belief systems to draw parallels between a circle of high school sophomore girlfriends and the characters in Arthur Miller’s The Crucible.  The year is 2018 and there is much in these young women’s lives that was not solved by Harvey Weinstein’s arrest.

Victoria Omoregie, Jules Talbot, Haley Wong in John Proctor is the Villain; directed by Margot Bordelon; photo by T Charles Erickson

The dialogue is wicked-smart, filled with references from classic literature to song lyrics.  Though all are understandable because of clever context, only one is fully explained.  Belflower begins Act 1 in a classroom where sex education has been buried inside English-Lit, all the better to rush through the uneasy curriculum.  Along with getting a quick hit of each of “Villain’s” characters, this opening enables teacher Carter Smith (a  charmingly approachable Japhet Balaban) to also introduce any audience members not already familiar with Miller’s work to the major themes of The Crucible and the historical background of Witch Hunts.  It also becomes clear very quickly how much the study of the arts is giving meaning and purpose to the lives of these students

While serious issues of feminism, sexuality, body positivity and all varieties of belief run under the surface, front and center is a story of the power of female friendship.  The young ladies are created with some stereotypical DNA, but every one is layered with unique and endearing details.  Caught in a very personal #MeToo scandal through the actions of her father is Ivy Watkins (a warm Brianna Martinez).  Her former best friend Shelby Holcomb (a thorny Isabel Van Natta) has just returned to school after an unexplained “sabbatical” which might be connected.  Often speaking truth to power is Nell Shaw (a high-octane Victoria Omoregie) bringing “worldly wisdom” to the conversation from her upbringing in Atlanta.  At the other end of the confidence spectrum is Raelynn Nix (a fabulously wriggly Haley Wong) the local preacher’s daughter. The ultra serious Beth Powell (a ready-to-spring Jules Talbot) launches a feminist club in part to boost her college application but also to give them a container for discussing their feelings. They have a developing ally in Mason Adams (a sweetly awkward Maanav Aryan Goyal ) who experiences a particularly lovely character arc.   Filling out the attendance sheet is Raelynn’s ex-boyfriend Lee (Benjamin Izaak) and the class guidance councilor Bailey (Olivia Hebert) who are essential to the plot.

Seasoned director Margot Bordelon, who has a history of amplifying new voices, seems to have deep love for these characters, bringing out every delicate moment of discomfort and rage with authenticity.  The school room’s simple set by Kristen Robinson changes temperament with the help of Aja M. Jackson’s lighting.  Sound designer Sinan Refik mixes snippets of pop tunes with school bells and eery noises to further shift the tone of the room.  The girls also make themselves heard in their choice of wardrobe (Zoë Sundra) and in Raelynn’s case evolving eye make-up.

Whether it is exploring weighty matters (like why is “too much” simply parental shorthand for “a girl)” or making us laugh in solidarity, John Proctor is the Villain always keeps us entertained.  True enjoyment requires the ability to think big and a tolerance of of other points of view.  It is available as an On Demand stream from The Huntington Theatre in Boston through March 24.  Running time is about 100 minutes with no intermission. Digital tickets are available at four price points starting at $30 and can be purchased at https://bostontheatrescene.huntingtontheatre.org/28317/28319.  

The Crucible

Broadway, Play, Uncategorized April 13, 2016 Leave a comment

The last time I attended a performance of Arthur Miller’s The Crucible, I had not yet seen the McCarthy-Era set Trumbo or heard a candidate for president propose the “complete shutdown of all Muslims” entering our country.  The plot struck me as plodding and the dialogue dense.  Those recent reminders that unfounded fear can easily transform into outright hostility gave me a deeper appreciation of the unfortunate relevancy of this classic work.  This is also a superior production, boasting a first-rate cast in the skilled hands of Ivo Van Hove, a director who has become synonymous with dark and moody productions.

The entire ensemble is polished and well-matched.  Leading the way is Ben Whishaw, who at 5’9” is a decidedly unusual choice for the role of John Proctor.  Whishaw’s Proctor — described as “big” throughout the script and typically played by actors large in stature — is undoubtably substantial on an emotional level.  Sweet-faced Saoirse Ronan becomes ugly to her core as his nemesis Abigail Williams.  She is balanced by the loving and warm interpretation of Proctor’s wife Elizabeth delivered by the dazzling Sophie Okonedo.  Act Two is further brightened (darkened?) by a frighteningly powerful Ciarån Hinds as Deputy Governor Danforth.  The headliners are supported by an able troop including Bill Camp as a growingly conflicted Reverend John Hale, Tavi Gevinson as Abigail’s tool Mary Warren, and Jim Norton as what passes for comic relief in the form of Giles Corey.

Throughout the nearly three hour running time, Van Hove proves adroit at slowly building the dread to an almost unbearable level.  To emphasize the timeless cycle produced by anxiety and hate, the director moves the locale from Salem, Massachusetts circa 1692 to a utilitarian “sometime” with a set designed and lit by Jan Versweyveld.  The starkness helps the audience focus on the lightning flashes of impressive effects that pepper the action.  His actors dress in earth-toned unisex clothing by Wojciech Dziedzic, the better to disguise who is friend and who is foe.  The relentless score that buries itself in the pit of your stomach is provided by Philip Glass, master of repetitive background music.

The Crucible is playing at The Walter Kerr Theatre through July 17, 2016.  For tickets and information visit http://www.thecrucibleonbroadway.com. While I admire all the new names that have been brought to Broadway this season, I am equally thrilled to see an evergreen given such fresh life.  It sets a high bar for those to whom this serves as an introduction to the great Miller’s work.