Shirley ‏@Shirleyariki
#TheCrucible no stage door tonight.

Für diejenigen, die nur diese eine Stage-door-Chance hatten, ist es wirklich schade. Zum Glück konnten sie aber das Wichtigste erleben: Richard auf der Bühne!

Sunday, 3 August 2014
The Crucible, The Old Vic - by Annie (@corieltauviart)

Tickets for The Crucible at The Old Vic are one of the hottest tickets in London this summer. I've opted to see the West Yorkshire Playhouse production in autumn instead. Annie (@corieltauviart), however, agreed to review the play that is set to be a must see in London this summer.


The Crucible

The Old Vic " in the round "

July 2nd 2014 matinee


An intensely dark production by Yaël Farber and The Old Vic. The gloomy darkness and sombre frugality of Soutra Gilmour's set design evokes a sense of impending doom before the play even begins. The "Theatre in the round " layout brings the audience right into the heart of the production, all attention focused on the stage as audience members surround the stage and appear to form part of the set, sitting observing like witnesses and courtroom jurors as the action unfolds.

Penned over 60 years ago, Arthur Miller's Crucible has lost none of its relevance to the issues in today's society. Originally written as a commentary on McCarthyism in the 1950's - the movement where American citizens were encouraged by the government in a mass paranoia towards communism and potential communists - this is the story of a community riddled with suspicion, persecution, and injustice underlain by the very human emotions of jealousy, fear, anger and avarice: Salem, infamous for the Witch Trials of the 1690's where neighbour accused neighbour in an atmosphere of terror, paranoia and religious fundamentalism.

A dark, tormented production, the play was a three and a half hour assault on the senses, absorbing and yet disturbingly grim, shocking and ultimately emotionally draining for the audience.

Richard Hammerton's rumbling and menacing soundscape creates an additional tension of ominous noise amongst the raised voices and often shouted dialogue onstage. A nightmare of suspicion and accusation snowballs out of control amongst the poverty and frugality of religious fervour, where the longed-for purity of society is deeply and fundamentally tainted by corruption and the darkest aspects of human nature.

A cast of predominantly tall and physically powerful men tower over the stage and nearby spectators and the seemingly much smaller women, hinting at the apparent supremacy of the male in society, while ultimately the women come to dominate the unfolding story.

Samantha Colley makes an impressive professional stage debut as a powerful and sinister Abigail Williams, the spurned young lover of John Proctor, the central male character of the play. Cold, vengeful, and strong willed, she bullies and manipulates a group of young girls into collective and highly organised hysteria and makes accusations of witchcraft to her own advantage.

Richard Armitage as John Proctor is surprisingly tall and physically intimidating, a strong, conflicted and guilt ridden character who finds reconciliation with his wife before his ultimate redemption in death and self-sacrifice.

Other notable performances from this talented cast include Adrian Schiller, a convincing Reverend John Hale, the minister who initially advocates the trials but ultimately has a realisation that they are inherently corrupt and unjust proceedings.

Christopher Godwin plays an ignorant, unbending, terrifying Judge John Hathorne; Harry Attwell is a superbly grasping and immoral Thomas Putnam, a real villain, prepared to do anything for his own gain. Natalie Green is also notable for her strong portrayal of Mary Warren, the downtrodden servant of the Proctor family.

The disquieting image of a group of teenage girls convulsing in organised frenzy, a malevolent corps de ballet of synchronised movement,voice and swirling hair is just one unsettling scene amongst many.

Both powerful and emotional, do not be deterred by the lengthy running time of this production, as the hours pass almost unnoticed due to the highly compelling nature of the storyline, and the excellence of this production.

Review by @corieltauviart

May I say thanks again to Annie for reviewing The Crucible and tickets can be booked via The Old Vic website. Best booking sooner than later as tickets are very popular!

#London.Capital City of the #TheatreWorld.#Theatre miracles: #ShakespeareInLove, #Skylight,#TheCrucible,#WolfHall... pic.twitter.com/RmTj9K0Luu

Ich denke, es ist eine Thorin-Puppe.

Es ist die Thorin-Puppe... habe ich selbst gesehen, wie Richard diese unterschrieben hat...

Ich bin guuuut!

"I'm English. I like it cold and wet" ... (frei zitiert aus irgendeinem Colin-Firth-Film, ich glaube "Hope springs" )

TOFF TIPS Carlie Newman
THEATRE TIP - THE CRUCIBLE

This must be one of the best plays on offer at the moment. THE CRUCIBLE (Old Vic Theatre, London until 13 September 2014 Box office 0844 871 7628) by Arthur Miller is so beautifully written that it can be almost guaranteed a successful production but here Yael Farber brings something extra to the story of the Salem witchcraft trials in 1692. In the fearsome anti-communist era in America, the play was taken to be a commentary, almost a judgement, against those who cooperated and those who refused to give evidence at the Joseph McCarthy Committee trials in 1952. It still resonates today, however, with acts of violence taking place all over the world and the media's interpretation giving rise to the question of who is in the right and who is the aggressor.

Surprisingly Farber has the cast speak English without an American accent, which I gather is more akin to how people used to speak in that part of the country.

Even knowing the play well and sure of the outcome, we are still deeply moved by the accusation of witchcraft against upright citizens by young girls moved to joint action by hysteria. Combined with this is the more intimate story of John Proctor who is aware that he has sinned by committing adultery with his servant Abigail and now has to face his wife who, for the first time in her life, lies to save her husband only to have this rebound in the most terrible manner against them.

Richard Armitage as John Proctor & Samantha Colley as Abigail
Farber's realistic set and the performance in the round bring the action close to the audience. The orchestrated movement of the girls led by Abigail (Samantha Colley) lends an extra dramatic effect to the tension and Anna Maddeley is so moving and truthful as Elisabeth Proctor that we wonder how anyone could judge her other than noble. But it is Richard Armitage as John Proctor who provides the core to this production - strong yet admitting his weakness - he puts across a man completely agonised over his wrong actions and mindful of the trouble he has brought to his wife and their family. Colley gives a strong performance as 17-year old Abigail. She shows that she is a most capable actress and we can look forward to great things from her. There is good support from all other members of the cast, in particular Adrian Schiller who starts off as an accuser and then realises he is wrong.

I cannot recommend this theatrical event too highly.

It proves difficult to accept Martin Freeman as a wicked person. He tries very hard to portray the villainous Richard and in a way succeeds although there is always a niggling doubt when one looks at his kindly face. In fact this suits some of the way that director Jamie Lloyd has approached Richard 111.
Chronik-Fotos · vor 6 Stunden ·