Wo gehobelt wird, da fallen Späne . Wie brüllt er doch so schön: "We will burn together" ( ich glaube, den Schrei aus dem Trailer neulich krieg ich nicht mehr aus den Gehörwindungen... ).
Darum sind seine Elbenöhrchen auch hinterher immer so schön rot vom vielen Schrubben .
Wer weiß, wie wir hinterher aussehen .

Review on ‘The Crucible’

Review on ‘The Crucible’ by Arthur Miller at The Old Vic Theatre and directed by Yaël Farber

‘The Crucible’ is an immensely enjoyable piece of Theatre, frightening and chilling all the way through. Ultimately it is breathtaking, mind blowing, and gripping.

The Old Vic Theatre in Waterloo has changed its traditional format to in the round stage, which intrigued the audience when being ushered to the seats. The smell of ashes is also heavy with smoke, which created anticipation for the audience and for the dark tragedy to begin. Balconies had been adorned with dirtied off-white sheets, which hung carefully to reflect the Salem period in 1692. While the stage had seats strewn around, carefully positioned to enable the cast to maneuver and travel to their allocated space.

The drama kept the audience attention from the first appearance of a transient light and haunting beat following Tituba dragging and scarping her feet across the floor, reflecting the hardship of slavery and post-colonial lifestyle. This follows with the ensemble cast reflecting the regimented and mechanical Puritan lifestyle; Betty, the first victim of ‘witchcraft’ carried apparently lifeless and limp. It was like watching a subtle, eerie dance routine, and conveys the challenging lifestyle felt by the women in this society.

The first act was two hours long with only two scene changes. Farber used clever minimal props (wooden chairs and tables) to stage, and direct the revelation of the flawed character of Proctor and ultimately his wife ‘Goody Elizabeth’ being taken away for having been accused of a witch. The final hour and half kept the momentum situated in a court and then a dingy prison to ultimately reflect the revenge coerced by Abigail and the deaths of the victims during the Salem trials.

The play is riveting from the music, movement of the cast and speeches.

I came out shaking and speechless after seeing it during the Matinee performance. I would wholeheartedly recommend it to anyone.

By Wakas 9/7/2014

Jul17
Inside Out Theatre
Posted on July 17, 2014 by openplatforms
Standard


Richard Armitage, currently playing John Proctor in The Crucible at London’s Olc Vic theatre, says he approaches John from the inside. He says he is not a character who can be ‘put on’ from the outside. The fact that he draws from within himself is displayed for all to see on stage. It is a raw and honest portrayal of a man exposed for all the wrong reasons; John Proctor is a beacon of truth in a society ravaged by its own paranoia and eaten up by its abuse of religion.

It is fitting that Armitage is so willing and able to act this part from the inside, as the play’s subject matter is that of a society being attacked from its inner core; the values it thinks it lives by are the very values which are responsible for its destruction.

As with all Arthur Miller’s plays, we should learn from this.

The Crucible, The Old Vic – Performance review
by Rachel Creaser
Star rating
****

A heartening piece of pure drama.

Last night’s thunderstorm may have been forecast, but I have a feeling it may have been the doings in The Old Vic which spurred the storm to build to such intensity …

The design really sets the tone for this production: the space is awash with a dreary sepia tone and a constant smokiness in the air – there is no bright and lightness in the place. The Crucible is part of The Old Vic’s second in-the-round season – it fit the world of the play very well, and drew the audience further into the murkiness.

Directed by Yaël Farber, she hits us hard from the very beginning, and doesn’t let up throughout the three-hour production. With a story of Salem witch trials, false accusations, lies, revenge, power, God and the devil – how could it not be hard-hitting?

Richard Armitage’s portrayal of John Proctor is authoritative yet touching: he’s just as compelling to watch in quieter moments as when bellowing out in anger. Armitage has great chemistry with both of his leading ladies: Proctor’s wife, Elizabeth, played by Anna Madeley, and the formidable Abigail Williams, played by Samantha Colley. Both women have great presence: Madeley has a gripping emotional intensity, while Colley forcefully commands the attention of the audience.

The movement in the play is a real highlight. Marama Corlett (playing Betty Parris) kept me engrossed as she contorted herself during a fight with an internal spirit. The movement work from the other young girls in the ensemble was also engaging and bewitching.

What I found most impressive about the production was that I found myself involuntarily shaking my head in disbelief on several occasions; I was utterly frustrated with Judge Hathhorne and his cronies – showing that the power of Arthur Miller’s storytelling is yet to dampened by time. The play may have left me feeling slightly depressed at the unfairness of life, but the most important outcome of this production is that it left me feeling something.

For people looking to go and see some impressive theatre this summer, this production has a lot to offer, and is highly recommended.

The Crucible runs at The Old Vic until 13 September 2014.

The Crucible – The Old Vic. *****
Posted by ChrisJuly 18, 2014
The crucible

The transformed Old Vic with its all round seating and dark stone pillars and walls is the perfect, cauldron like setting for Arthur Miller’s The Crucible. The dramatisation of the Salem which hunt serves so well as a parable to mass persecution and hysteria that resonates from the McCarthy persecution of communists to the reactionary responses to recent terrorists attacks and the politics of immigration.

Directed by Yael Farber, this production is filled with muted tones and dark grey garments, supplemented by the constant low hum of a soundtrack that ratchet up the tension. The aesthetic emphasises the middle aged backwardness of the mindless and the arbitrary manner of the persecution. There is no let up with its relentless drive of the plot and argument and remain an absolute joy to watch even if it runs at three and half hours. It is an emotional roller-coaster ride that marks out all the moments of deep personal tenderness and the harsh, injustice of the dubious legal arguments.

Natalie Gavin stands out of this superb cast who defines each of their view points so well. Gavin as the house helper Mary Warren who switched from being the accuser to witness helping the defence captures the folly of youth so beautifully and her helplessness when finally trapped in an impossible situation. Jack Ellis as Deputy Governor Danforth has the steely self belief to rule and Richard Armitage is exhausting himself to fight this unwinnable scenario as the protagonist John Proctor. And the female characters all posses a sense of otherworldliness that gives credibility to the persecution.

Breathless and emotional, visually stunningly beautiful with fantastic acting, this is an outstanding production of a classic and important play.

Ich glaube, das war kein Französisch, aber Du könntest recht haben.

Wenn das kein französisch war, will ich nichts gesagt haben. Aber der dazugehörige Bericht war es doch, oder?


@Maike: Und laut Servetus hat er sich für dieses Versehen bei der Dame entschuldigt... nur der Vollständigkeit halber.

Die geworfene Bibel macht Schlagzeilen

http://meandrichard.wordpress.com/2014/ ... -protests/