It is a dramatized and partially fictionalized story of the Salem witch trials that took place in the Province of Massachusetts Bay during 1692 and 1693. Miller wrote the play as an allegory of McCarthyism, when the U.S. government blacklisted accused communists.
Starring Ben Whishaw as John Proctor, Tony winner Sophie Okonedo as his wife Elizabeth Proctor, Saoirse Ronan as Abigail Williams, and Ciaran Hinds as Deputy-Governor Danforth.
The production will be directed by Ivo van Hove, and will have scenic and lighting design by longtime van Hove collaborator Jan Versweyveld, costume design by Wojciech Dziedzic, and an original score by Philip Glass. Additional casting and design team will be announced at a later date.
And van Hove (working with the choreographer Stephen Hoggett) does wonderful things with his staging...If van Hove's directorial choices generally support and enliven the text, and force us to see it fresh, it's not because he has abandoned his avant-garde armamentarium. This Crucible features plenty of his signature flourishes, some more effective than others...Ben Whishaw and Sophie Okonedo, as the Proctors, give wrenching performances, shorn of vanity, as if the play's message of communal guilt had infected them personally...Saoirse Ronan as Abigail suggests no real excuse for her cold manipulations: She just shines with maleficence.
There's bound to be head-scratching over Ivo van Hove's peculiar Broadway production of 'The Crucible,' Arthur Miller's towering 1953 drama about the infamous 17th-century Salem witch trials - and so much more. The ensemble, led by Ben Whishaw, Sophie Okonedo, Ciaran Hinds, and Saoirse Ronan, is superb, and the play sustains its power to shock and thrill. But the directorial concept is baffling. In stripping down the context of 'A View from the Bridge' earlier this season, van Hove did a brilliant job of isolating and illuminating the internal battle waged by its tormented hero to save his own soul. 'The Crucible' resists that treatment. It's too big, too complex, too philosophical to deconstruct and reduce to its 'essence.'
1953 | Broadway |
Broadway |
1958 | Off-Broadway |
Off-Broadway |
1964 | Broadway |
Broadway |
1972 | Broadway |
Broadway |
1990 | Off-Broadway |
Off-Broadway |
1991 | Broadway |
Broadway Revival Broadway |
2002 | Broadway |
Broadway Revival Broadway |
2016 | Broadway |
Broadway Revival Production Broadway |
2019 | Off-Broadway |
Bedlam's Off-Broadway Production Off-Broadway |
2023 | West End |
West End |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2016 | Drama Desk Awards | Outstanding Featured Actor in a Play | Bill Camp |
2016 | Drama Desk Awards | Outstanding Music in a Play | Philip Glass |
2016 | Drama League Awards | Distinguished Performance Award | Sophie Okonedo |
2016 | Drama League Awards | Distinguished Performance Award | Ben Whishaw |
2016 | Drama League Awards | Outstanding Revival of a Broadway or Off-Broadway Play | Arthur Miller |
2016 | Outer Critics Circle Awards | Outstanding Actor in a Play | Ben Whishaw |
2016 | Outer Critics Circle Awards | Outstanding Featured Actor in a Play | Jim Norton |
2016 | Outer Critics Circle Awards | Outstanding Revival of a Play (Broadway or off-Broadway) | The Crucible |
2016 | Tony Awards | Best Lighting Design of a Play | Jan Versweyveld |
2016 | Tony Awards | Best Performance by an Actor in a Featured Role in a Play | Bill Camp |
2016 | Tony Awards | Best Performance by an Actress in a Leading Role in a Play | Sophie Okonedo |
2016 | Tony Awards | Best Revival of a Play | Arthur Miller's The Crucible |
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