Review: JOHN PROCTOR IS THE VILLAIN Reframes An American Masterpiece

A literary classic looms large in John Proctor IS THE VILLAIN, now in its final weekend at the University of Arizona's School of Theatre, Film & TV.

Set in a rural high school's AP English classroom, where students are tasked with analyzing Arthur Miller's The Crucible, playwright Kimberly Belflower deconstructs Miller's iconic protagonist, sparking a fierce dialogue about heroism through a feminist lens.

John Proctor IS THE VILLAIN debuted in 2018 at the height of the #MeToo movement when conversations about gender, power, and accountability reshaped institutional narratives.

The parallel is striking: As the students probe John Proctor's character, their analysis extends beyond literature, forcing them to confront unsettling truths about their own lives. Halfway through The Crucible, they begin to question why John Proctor is so often portrayed as noble despite his exploitation of a young girl, highlighting society's continuing dismissal of women's voices. Their classroom debates expose similar patterns in their community—where powerful men get a mere slap on the wrist for unconscionable actions.

The play unfolds almost entirely within the classroom, a microcosm of the broader social framework. What starts as a safe space quickly becomes a tinderbox—a collision of authority figures, peer dynamics, and societal expectations.

At the play's core is Mr. Carter Smith (Josh Parra), an English teacher who appears gentle, progressive, and deeply invested in his students' critical thinking. A husband and father, he wields enormous respect in their small Georgia town, and the students adore and trust him. But as discussions intensify, cracks emerge in his carefully curated persona, leading students to question Proctor and the authority figures in their own lives.

The young women in the classroom fuel Belfower's modern-day crucible. They drive a sharp interrogation of Proctor's legacy, challenging his status as a flawed hero and recasting him as a predatory figure.

Beth Powell (played with virtuous conviction by Isabella Santoni) is a straight-A student whose academic rigor leads her to question traditional narratives. Yet, ironically, she is the last to lose faith in her teacher's integrity, narrowly sidestepping his eerily ambiguous confession: "You're the only friend I have left in the world."

The rest of the ensemble is outstanding: Noelle Robinson as Nell Shaw, Lily Wilson as Ivy Watkins, Isabella Russo as Raelynn Nix, Leland Hao as Mason Adams, Andrew Flekier as Lee Turner, and Riya Luthra as Bailey Gallagher. Capping off this dynamic cast is Haiden Pederson, whose blistering performance as Shelby Holcomb summons the ghost of Abigail Williams of The Crucible. Pederson's portrayal challenges Abigail's long-standing characterization as a misguided antagonist, posing a vital question: Have we been wrong about Abigail all along?

Belflower's writing blends academic fluency with the unfiltered energy of teenage argot. Crisp and emotionally charged, the script expertly transitions between scenes from The Crucible and the students' classroom debates, crafting a narrative that is as urgent as it is thought-provoking.

Director Tricia Matthews navigates a delicate balance between intellectual discourse and raw emotional discovery, ensuring each scene feels spontaneous and deeply intentional. The students' dialogue crackles with authenticity, the rhythm of their voices mirroring the chaos of real-world awakening.

That said, a few blocking choices are questionable, perhaps due to challenges posed by an asymmetrical scenic design (beautifully rendered by Kensey Coleman). A handsome box set, positioned diagonally, challenges actors to remain mindful of sightlines; as a result, audience members seated house-right may sometimes feel overlooked and deprived of the intended composition.

All things considered, Kimberly Belflower's reframing of the Salem witch trials examines the insidious culture of misogyny, presenting women as complex characters rather than mere victims. Although it effectively connects with issues like the #MeToo movement, it risks becoming forced and contrived; instead, it encourages reflection on the ongoing fight for gender equality and the necessity of amplifying women's voices across the globe.

John Proctor IS THE VILLAIN continues through March 8 at the Marroney Theatre.

 

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