Review: A Powerful Production of Arthur Miller's THE CRUCIBLE at Palm Harbor University High School

"We are what we always were..." --John Proctor in THE CRUCIBLE

"We have met the enemy and he is us." --Walt Kelly

THE CRUCIBLE, Arthur Miller's 1953 play, is a truly terrifying piece of work. Although some of its terror can be found in its Halloween-worthy subject matter--accusations of witchcraft, a child's gnarled body due to seeming devil possession--that's not where the true horror resides. Watching this play in 2022, we realize that we have not progressed much as human beings. The gut-churning horror of THE CRUCIBLE is in its potent finger-pointing at a society that still cannot learn from its past. John Proctor says it best: "We are what we always were." From Salem in the 1600s to the McCarthy hearings and Red Scare of the 1950s to conspiracy theories and the "Big Lie" of modern times, we are still there. And that is the ultimate hair-raising horror of Arthur Miller's second masterpiece. (Although his brilliant Death of a Salesman is touted as being the better of the two, I actually prefer THE CRUCIBLE if forced to choose).

When we watch THE CRUCIBLE, we are still sadly staring in the mirror, whether in the 1690s or the 2020s.

There are so many villains populating THE CRUCIBLE, and not just the young girls whose fake claims of witchcraft to settle old scores wind up killing numerous people. Not just the landowner who uses the girls' accusations to obtain more property. Not just the unwavering judges who uncaringly wield their power and allow so many more deaths even after the community has tired of the trials and wants them to stop.

The key villain of THE CRUCIBLE is mankind itself, those of us sitting in the audience. We are what we always were. Through the ages we have allowed for this behavior, celebrated it in fact. When the promotion of a lie leads to freedom, but telling the truth gets you in hot water, or worse, then we as a society are only to blame. We allow this and always have. And before you say to yourself, I could never join the communal damnation of others, remember those harrowing words of a villain in another work, Noah Cross from Chinatown, when he proudly proclaimed: "Most people never have to face the fact that at the right time and right place, they're capable of anything."

But there is hope in Arthur Miller Land, and it goes by the name of John Proctor. Proctor is a farmer, a strong soul of no noble upbringing, a regular man who stands up against the hypocrisy and lies of his times. If there is a Patron Saint of Integrity, it just may be John Proctor. And he pays the price. In the show's most emotionally charged moment--and there are many of them--Proctor refuses to sign his name to a false confession. If he confesses the lie, he goes free; if tells the truth, he is put to death. What would you do? Would you take the easy route and survive, or face the fatal consequences of doing the right thing? This is where Arthur Miller writes his greatest line, the one that tears me up and almost always makes me weep. It belongs to Proctor: "Because it is my name! Because I cannot have another in my life! Because I like and sign myself to lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul; leave me my name!"

I discovered the power of THE CRUCIBLE in high school in the 1970s, and last night, four decades later, I loved seeing the closing performance of the play at a different high school--Palm Harbor University High School. In this day and age, especially in Florida, it is an act of courage to produce a work like this in any school.

I worried at first if high school actors could get to the rightful levels of emotion needed for a work like this. After a winning prologue (with cool choreography by Claira Laney) featuring the Salem girls dancing around a caldron, my fears almost came true. The first part of Act 1, which starts off as a slow burn, seemed stolid at times. Some of the lines seemed forced spoken by such young actors. But then the play takes off and seldom pauses for breath. It's an exciting production, and even with some of its minor flaws, it keeps you on the edge of your seat. After we experience the thrills, horrors and sorrows ingrained in its plot, we are left with its meaning. And that meaning still rattles me, shakes me to my core, the morning after viewing it.

Charlie Lane makes for a formidable John Proctor. Bearded, a world-weariness on his face, he is a marvel as Miller's doomed Everyman. This is one of those performances that transcends high school; watching him, I forgot I was even watching a high school performance in the first place. There is a knowing gentleness with his wife, Elizabeth (the very talented Emrys Black, who rightfully underplays the part), and a strength when pushed by the courts. And he nails the big moment, the one that makes me weep when I think about it. Lane's Proctor gives us hope in this weary world.

Equally strong is the incredible Addyson Reese as the antagonist and chief accuser, Abigail Williams. You feel her longing for Proctor, a schoolgirl crush turned deadly. When she was a child, she watched her own parents die and she never got over it, always looking for a father figure. And her search dooms Proctor. Later in the play, there is a moment where she writhes in fake-possession, her body contorted, like a teen possessed by Vecna in "Stranger Things." It's an incredible performance, horrific and real, riveting and gutsy.

As Judge Danforth, perhaps the show's chief onstage villain, Aidan Bartholomew slowly slinks, a viper on the prowl, aided by his growly sidekick, Judge Hathorne (a rabid Carmine Abudi). Tall, commanding, Bartholomew speaks deliberately and starts off sounding somewhat reasonable. But he becomes a haughty monster, full of self-importance and guided by conspiracy theories. For anyone who distrusts the courts and judges, be careful--Bartholomew's winning interpretation of Danforth will make you question the entire legal system.

Andrew Larsen makes for a moving and empathetic Reverend Hale. No high schooler has better facial expressions than he does, and he sparks the stage to life whenever he enters. Hale is the one character who changes the most throughout the course of the play-from proud witchfinder, to questioning the entire process, finally to fighting the power and helping those unintentionally harmed by his earlier deeds. Hale may be the most complex character in THE CRUCIBLE, and Larsen nails the role.

Valentino Martone brings out the distraught squealy squirminess of Reverend Parris. Parris is too concerned with how the events affect him, how he is viewed by the town, not by any empathy. Martone brings out the layers in Parris, who goes from accuser to downtrodden self-proclaimed victim.

With his Michael McDonald gray beard, Dominic Ehrlick is linebacker-sturdy as the elderly Giles Corey (although I miss old-age make-up on him). Sophia Hartley as Betty Parris has a moment where she writhes, bringing out her inner Lina Blair, especially the Spiderwalk moment in The Exorcist. Aria Eaddy stands out as Tituba, and Adahlia Friedlander makes for a sympathetic Mary Warren.

As usual with PHUHS shows, the entire cast shines, some stronger than others but each one giving their all, including Kelsie Ford, Veronica Elbo, Ian Bradley, Emilee Scott, Alexander Breen, Arianna Garifalis, Leo Markos, Tessa Davidson, Sam Soltis, Mark Helm, Lydia Baker and Miles Lind. Special mention goes to McKenna Doyle as the drunken Sarah Good, who turned a small part into a very memorable one.

Director Ashlie Timberlake has once again tackled a tough show and has guided her strong cast of youths into being at their absolute best. There is a reason PHUHS shines in our area as one of the very premiere theatre departments; THE CRUCIBLE is another feather in their cap.

THE CRUCIBLE set is like some sort of Gorey architecture and worked well enough; occasional fog helped set the eerie mood. Costumes were appropriate and well-tailored. The sound was quite problematic at times, with microphones going off and on, sounding like cell phone reception going in and out inside a tunnel. At one point, a mic was left on and we could hear backstage conversation, which is a major no-no for the cast that must stay quiet in the wings.

One thing really disturbed me while watching the show, although it's quite inadvertent and actually extremely positive when you think about it. But I was thrown off by the audience's cheery reception after each scene. This is a show that deserves hallowed silence, a contemplative response. Instead, we got cheers after each segment of horror like we were at a Homecoming football game. This is not that type of show, and the audience's loud and joyous reaction at their friends, though I'm sure became an adrenaline rush for the proud cast, left me bewildered.

I wish THE CRUCIBLE wasn't still so damned pertinent. I wish we lived in a world where comparisons to our modern insanity was nil and the witch trials of Salem could be looked at as a charcoal sketch of the past rather than a mirror of today. It's like we leave the theatre, go home, turn on the TV and there we are--suddenly faced with the same demons as yesterday. But as brought to light in THE CRUCIBLE, we are what we always were, so if the villains are currently rearing their ugly heads, then so are the heroes. So yes, the John Proctors of the world must be out there. The question is, where are they, our better angels?

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