A boiling Crucible of terror and tragedy comes to the Corn Hall

Posted on 23rd January 2023

Arthur Miller’s 1953 study of hysteria and public shaming marks a welcome return of live performance beamed in from the National Theatre to the Corn Hall. The play is notionally a period drama, retelling the notorious Massachusetts witch trials at the turn of the seventeenth century. It’s best known, however, as a commentary on Joseph McCarthy’s persecution of left leaning public figures at the time of its writing. Yet despite that being over seventy years ago, and its heightened language, The Crucible feels remarkably prescient today. Miller focuses on hysteria and superstition, but also on prejudice, confirmation bias and straightforward pettiness.

Lyndsey Turner’s production is sprinkled with directorial flourishes – on stage rain, superb lighting, and haunting chants – but is otherwise a straight laced, almost reverential, presentation of Miller’s text. It showcases the precision of his narrative – not a word wasted notwithstanding its considerable running time – something that is ably exploited by a uniformly excellent cast.  Erin Doherty is unsettlingly brilliant as Abigail Williams, sparring ruthlessly with the ursine Brendan Cowell. Fisayo Akinade carries off the tricky role of troubled priest John Hale perfectly, bereft as his worldview crumbles. Karl Johnson, in a tiny role, lights up the stage as the combative farmer Giles Corey.

The performers bring an unusual lightness of touch to the text. Despite the devastating consequences that unfold, they manage to draw humour from the play, and laughter from the audience. This only serves to heighten the cruelty of a story that presents humanity at its most shameful, while nevertheless presenting a positive message of redemption. Notwithstanding that most of the audience will surely already know the play this production manages to tighten its grip mercilessly as it moves towards its tragically inevitable end.