I directed this and am immensly proud of the whole production. Lots of things below
- The Barnstormers site for this production is here.
- The official blog (diary) for the production is here.
- My own photos of this production are here.
The Director’s notes advised that a straw poll in his office had shown that though 8/10 have heard of Arthur Miller’s ‘The Crucible’, fewer than 1/10 have actually seen it. I can now count myself to be one of the lucky one’s. The fact that the play is a modern classic is no sure formula for a successful production. In deed the depth of talent required to make this onerous 4 Act play come alive was awesome, but the Barnstormers had that by the bucket-load.
In a production where every character had been faithfully researched and played it cannot go unmentioned that to a man (or woman) not only was the pace, diction and projection excellent, but the comprehension of the text was superb. Neither should it be ignored that, there were many occasions which required a good number of players to be on stage for some time just to ‘listen’, and how well they did it. The careful manoeuvring and grouping of players during such scenes had been well plotted by the Director to avoid it looking like a cattle market.
The Prologue was exact. A gauzed firelit woodland dance enacted by the young girls to a haunting melody mixed with reverberating youthful giggles set the tone perfectly for what was about to follow.
The pace and verve with which Philip Laughton, as the Reverend Samuel Parris, launched into the first Act epitomised the striving proud man he should be. A hardened man of the cloth who preached fire and damnation into the hearts of his congregation. The very torment of a man battling with his own beliefs and that of his parishioners was visible for all to see. Chris Chaplin as the Reverend John Hale was the perfect contrast. A quiet, calm and collected man, experienced in matters of witchcraft and more ready to accept that there is inherent good and evil in everyone. Both men delivered well rounded performances of their respective characters. I felt occasionally that Parris was guilty of overdoing the ‘dramatic upstage turn’ (too much of a good thing can reduce its potency), and a little too much pacing. It is a common error, when faced with pages of dialogue, that a Director feels obliged to set unnecessary moves. As a guideline only move if there is a definite reason.
Steve Palmer gave an excellent portrayal of the central character John Proctor understanding the man throughout. The emotional rollercoaster was running true from his first sinister entrance, where we learned of his liaison with Abigail, through the guilt of having cheated on a weakened wife in a failing marriage, to his utter disbelief that the law should accept the spirited ramblings of the girls. But foremost must be his final scene where the broken man is faced with the torment of retracting his confession to keep his name rather than save his own life. In such a weighty part it would have been nice to have worked a little more light and shade into the voice, and again, reduce the number of unnecessary moves.
Claire Tibbalds gave a solid performance as Proctor’s hapless wife Elizabeth, though at times their relationship seemed to be somewhat staged to be cold rather than bear the feeling of an awkwardness and failing on both their parts.
Of the girls Camilla Rockley played the part of the vengeful and calculating Abigail to a tee. The free spirited leader of the girls, the flirty adolescent with Proctor, and the stone faced picture of innocence and virtue to Authority were totally in keeping with the role. Likewise, Lucy Coward as Mary Warren had done her homework. The unwitting follower of Abigail, a timid mouse who finds strength born out of her elevated position at the trials, was twice in the focus. First as she succumbed to her conscience to declare the whole event a ‘pretence’, but then later as she retracted her statement to reunite with the girls in a harrowing betrayal of the truth. The reuniting of Mary with the girls was one of the many highlights of the play and particularly well executed by the young girls. Worthy of equal mention was the truly spine-chilling confession of the servant Tituba (Celena Bain), who’s absolute terror at being accused of witchcraft was wholly believable and a terrific climax to end Act 1.
Jerry Phillips was every inch the man as Deputy Governor Danforth, holding court both literally and figuratively throughout the third Act. His timing and delivery combined with careful control of a booming voice commanded attention not only from those on stage, but also the entire audience.
The excellent 17th Century timber framed set had been carefully designed as a back wall with interchangeable panels to provide the required scene changes to each Act, with the whole frame moving downstage to provide the final set in the jail. The players were thus afforded the maximum working area of the stage at all times. The downside to all this space was that the ‘small upper bedroom’ in Act 1 seemed rather too large whilst the common room at the Proctor’s house was positively palatial for a farmer. This might have been overcome by reducing the lighting at the periphery of the set and focusing more on centre stage. To have the oak beams of the Barn Theatre as the backdrop for such a production as this was providence itself as each scene blended perfectly into the auditorium almost as if one were actually in the room with the players. The Director had wisely kept furniture and props to a minimum, but his attention to detail was obviously paramount. Was it my imagination, or did I really detect the aroma of ‘rabbit stew’ in the Proctor House at the opening of Act 2?
As well as providing a warm cameo role in the form of Rebecca Nurse, Elizabeth Callow had worked marvels in the wardrobe department to provide a very authentic set of costumes. One might question whether the farmers’ attire in particular should have appeared quite so clean, but the costume change for Act 4, after months in jail, was especially effective.
Mention should be made of the excellent set of wigs which were totally in keeping with the time. The theory on makeup is that it is good if you don’t notice it, and that was generally the case, although one or two of the ladies were maybe a little too pretty for the hardy Puritan way of life.
Overall this was an exceptional piece of amateur theatre and the very hearty applause at the end of the evening from a praiseworthy audience had been well earned.
This is a humdinger of a play and with 23 in the cast. Congratulations are due to producer Richard Allen and director Paul Longhurst for the able way the troops are marshalled.
The distinction between superstition, religion and reason is brilliantly brought out and the dialogue in plain English not out of place for 1692.
No use is made of thee, thou, art, etc., for which grateful thanks are given.
The girls are supposed to have danced naked in the forest and to have summoned Satan with their wild perambulations.
The Reverend Samuel Parris (Philip Laughton) has glimpsed his daughter naked as she returns home and she is put to bed in a disturbed state.
A believer in hell fire, he convinces with passion his concern for salvation, tempered with anxiety for his earthly position.
Lotti Davies as his daughter has the difficult task of lying comatose for the first ten minutes.
She is a good screamer, but then ladies seem to have an inbuilt talent for it.
Tituba (Celena Bain), as slave from Barbados, sublimely portrayed her apparent admission that the dancing she taught is evil and that the devil has been summoned.
Alan Merricks as “know all” Thomas Putnam knew that whitchcraft is involved, convincing us that he believes it and is assisted in this by his wife Ann (Fiona Steel).
Abigail Williams (Camilla Rockley) is the ringleader of the bewitched girls and was a maid in the house of farmer John Proctor (Steve Palmer).
They have an affair and are led to believe that, having been shown the door by Mrs. Proctor (Clare Tibbalds), she wreaks her revenge with the accusation that the girls are under the latter’s control.
The uniform repetition of poor Mrs Proctor’s speech and movement by the girls is an effective theatrical device.
The foregoing parts are all handled with sensitivity and passion, especially when Steve Palmer and Clare Tibbalds are involved.
John Bennett, as Giles Corey, is forthright as the curmudgeonly friend of Proctor and suitable bewildered to find his wife tried for witchcraft because she reads books and won’t let him see what they are.
A special word of praise for Jerry Phillips as deputy governor Danforth, who is in charge of the Salem Trials. His phrasing and articulation are of the highest order.
Together with Judge Hathorne (Peter Shore), Marshal Herrick (David Rose) and Ezekiel Cheever (Tony Goddard) they form a formidable acting group.
Elizabeth Callow, as Rebecca Nurse, is a dominating figure, refusing to admit her guilt when such an admission could save her life, and Chris Caplin is suitably learned as the witchcraft expert, the Reverend Hale.
The Barnstormers know their business and their ensemble playing is a delight.
On the 21st September 2005, a production of Arthur Miller’s “The Crucible” was performed at The Barn Theatre in Oxted. Mainly watched by GCSE students, I have to admit that not many of us went into the theatre excited at the thought of sitting through a few hours of a play that we had no choice but to study. However, most of us left the theatre buzzing, extremely impressed with the performance and ready to tackle the forthcoming coursework.
To be perfectly honest, when reading a play in class, it is only a script to students, something that they have to read in order to pass their exams. However when watching it in The Barn Theatre, it was a dramatic, emotionally fuelled and powerful play that couldn’t help but make the most unenthusiastic student feel a part of the drama. This was helped by the historic and intimate setting, with the Barn Theatre seating just 244. I also felt that the first entrance was extremely well planned, with the opening characters entering through the audience, in their impressive and realistic costumes. This not only emphasized the emotions being felt by the characters, but made the audience feel that they were being included too.
One of the things that I noticed almost immediately was the range of ages within the cast. From the young actress playing Betty, to the actress playing Rebecca Nurse, I felt that they worked together remarkably well. It is not easy handling a large cast in such a small theatre, let alone trying to break down the barriers that age difference creates, but I admired the way that the cast co-operated and particular actors and actresses impressed me greatly. The actress that played Betty was brilliant, and seemed to show a great understanding of her character for someone so young. Even at GCSE level many of us find it very difficult to understand the language that the play is written in, let alone act it out, and to do this at such a young age I felt was outstanding.
I also thought that the relationship between Abigail and John Proctor was very well portrayed, and each impressed me both individually and together, with their on stage chemistry, complete involvement in the play, and constant focus throughout the performance. The visit earlier in the school day from the Paul Longhurst (director), Richard Allen (producer), Camilla Rockley (Abigail Williams) and Steve Palmer (John Proctor) was a great help in truly understanding the thought processes behind the performance, and this helped us to better understand the performance itself. Paul Longhurst came across as a lively, fun and committed individual, who had clearly put a lot of time and effort into creating an effective performance. The opportunity to direct a scene ourselves during this session gave us the chance to put our ideas to the cast, and made us all realise how difficult (yet fun!) directing a play can be. We were all very grateful that these members of the production took the time to come and visit us, and listened to our ideas as well as gave their own responses too. The session was a brilliant assistance when it came to watching Palmer and Rockley later that evening, and the transformation in appearance was remarkable. It was also interesting seeing them act throughout the play, having spoken to them as actors instead of characters earlier on in the day.
I realised whilst trying to analyse the different aspects of the play, exactly how much thought had gone into creating a realistic, yet understandable and powerful performance. Little things such as props on the mantelpiece and the use of accent made such a big difference in bringing the play to life. I was also very impressed with the effects that were used throughout the play, with daylight shining in through the left side of the stage despite the fact that we were watching the play in the evening. It was effects such as these that made the play so ‘real,’ and completely transported us from watching a play in a theatre in Oxted, to being involved in the Salem witch trials from the 17th century. Other effects simply made the play more dramatic, such as the use of enlarged shadow against a softly coloured background to show the girls dancing in the woodland. This was so much better than just seeing them dance on stage, as it left a lot to the imagination, which seems perfect considering that this part of the play is not scripted.
Another thing that helped to create such a realistic atmosphere was the high level of emotion that was displayed throughout. Reading the play on a Tuesday afternoon whilst you are all sitting at desks does not make you feel like reading the play with emotion, and you therefore lose so much of what Arthur Miller wanted to achieve. It was only when I watched this production that I realised the intensity of the emotion that was felt by the characters, particularly John Proctor. His violent rages and quick temper were very well captured, making me jump out of my seat several times throughout! However, at times I did feel that this character was portrayed as too aggressive, and that some of the loud outbursts were not appropriate for the situation in hand.
“The Crucible” is a play about the complete breakdown of a society, and there was an increasing feeling of this destruction as the play continued. In the second half, we got to see the consequences of the events in the first half, and we got to see a lot more of the actress playing Mary Warren, who managed to capture the emotional intensity of the situation very well. She showed a great understanding of the play, reacting realistically yet dramatically to the accusations made against her. Camilla Rockley had a less central role in this half of the play, however still gave her full attention to the other members of the cast, and reacted appropriately to every single comment made, without being false or unrealistic. To keep this level of attention through such a long production is remarkable, however many members of the audience found that the play went on for too long and could not maintain concentration. I understand that the play was long, but many people, students in particular found it a challenge to give the play their full attention for such a long period of time, especially so late at night.
When we were visited by Longhurst earlier that day, he said “‘The Crucible’ is an amazing play that speaks to you on many levels…it’s just up to you to find it.” To be honest, when he said that I wondered how I could possibly find these “levels” when I barely understood what the title meant. However, a combination of well designed setting, a creative director and extremely talented cast, helped many of us to gain a far greater understanding of the play, which will be a great help when it comes to examination. However, for many it was not just about that, but about applying our life values to those that were shown in the play. For a play set such a long time ago, that many of us would not have chosen to see beforehand, it is amazing how the morals and messages shown can still be applicable to life in the twenty first century and I know that I, along with many others, thoroughly enjoyed it, and are very thankful that we got the opportunity to see and be influenced by the production.
The potent story unfolded in The Crucible is told through a large number of carefully-drawn characters. The way they are portrayed as individuals and their relationships with each other is vital in building a composite picture of events surrounding the Salem witch trials of 1692.
The Barnstormers’ production, directed by Paul Longhurst, showed most of those involved as real-life people with recognisable strengths, weaknesses and foibles. As important, they were clearly shown against the background of the times in which they lived, which is essential in order for audiences to comprehend the mass hysteria that gripped New England.
Paul Laughton painted Reverend Parris as a witch-hunting zealot, whose rigid attitude split the community. It was a meticulous study, which made it easy to understand, if impossible to like the man.
Camilla Rockley showed Abigail Williams to be a brazen, manipulative girl. It was no surprise to find that she eventually ran off, with her uncle’s (Parris’s) money. Lucy Coward brought out the conflict suffered by Mary Warren, torn between doing what she knew to be right and the terror of Abigail and the other girls.
Steve Palmer looked every bit the hard working, independent-minded farmer, John Proctor. Although his delivery lacked spontaneity at times, he came across strongly in the last act, in which he had to decide whether to lie in order to save his life, or maintain his principles and face the gallows. Clare Tibbalds gave a carefully paced portrayal of Elizabeth his wife – a reserved, self-doubting, woman coming to terms with her husband’s infidelity with Abigail.
Jerry Phillips brought humanity to Danforth, the Deputy Governor, intent on seeking the truth but, ultimately, bound by the beliefs and strictures of the era.
The Crucible offers very little humour but John Bennett added a light touch as the litigious Giles Corey. There was a chill in the air as Celena Bain, the Barbadian slave Tituba, recounted her conversations with the devil.
Elizabeth Callow projected all the good-natured, God-fearing qualities for which Rebecca Nurse was respected in Salem. Twelve-year-old Lotti Davies, heightened the drama when, as Betty Parris, she awoke screaming from her trance at the climax to Act 1.
Several other members of the cast could have looked rather deeper into their characters and some needed to deliver their lines more naturally. The only noticeable fault in the staging was that grouping looked contrived in some scenes – most noticeably that of the girls in Act 1.
The prologue, an inspired idea, showed the girls, in silhouette, dancing in the woods – an innocent enough pursuit but one which, eventually, led to the execution of twenty people.
"A superbly produced, brilliantly acted play. it was so compelling that I was in tears at the end!"
"Congratulations on a superb production. The staging was very successful, the opening scene with back projection of the dancing girls particularly so, and the acting throughout the large cast was excellent. It is of course a great play, which we last saw the play at The National in 1990. Your production compared very favourably."
"My wife and I are regular theatregoers - regarding the National as our local! - and our visit to the Barn (for the first time) for the last night of The Crucible followed on from our seeing Playing with Fire at the Olivier on Thursday. I am not suggesting that the two plays are in any way comparable but I have to say that as far as quality of production is concerned, the Barn production was highly professional and beautifully executed. Congratulations to all concerned. Recently, I have been reading Miller’s autobiography Timebends and I think Miller would have been delighted with the production. The Barn Theatre of course lent itself to the play, giving even more enjoyment. We have the web address logged into our computer and will be on the look-out for future productions."
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