BARNET AND DISTRICT DRAMA FESTIVAL 2018
BERKHAMSTED THEATRE COMPANY
THE CRUCIBLE by Arthur Miller
This compelling and significant play, containing drama, political statement and history, is a challenging piece. In addition the director has to face the fact that Miller adds complex and detailed stage directions to the script. There are no longueurs in the driving narrative. Argument and counterargument, superstition and greed, opportunism and misused power, all collide at breakneck speed.
Many of the audience will inevitably be familiar with the story. The exposition in Act One setting the location, some of the main characters and the growing tension caused by their inability to understand Betty Parris’s malady was dealt with expertly and at pace. Relationships were clearly established and personal failings noted. This driving pace was maintained throughout the performance.
The stage design hinted at a fractured society (the upstage haphazard clapboard structures) the central wooden floor inset bespoke a spartan lifestyle and the noose dominated effectively. Period costumes seemed accurate – just a minor quibble, the hats of Corey and Nurse were too obviously modern and would have been better left off the stage. Sturdy furniture was slickly moved into place as required, props looked genuine and were handled well by the cast, and the giant gallows eventually overshadowed the climax of the play.
The opening recorded sung rhyme hung mysteriously in the air, and all the incidental music was well chosen. In earlier scenes set in candlelit cottages the lighting levels were realistic, i.e. not too bright, but this left me wishing there could have been a little less shadowy gloom. Of more concern was the choice of lighting cues: some superb effects were added on the backcloth during the second act but I could not understand why the cues were chosen. They did not always correspond with significant moments in the action and seemed to be random. Good to look at but adding nothing to the action – indeed rather distracting.
Grouping and movement, whether the content was a duologue or a crowd scene, was well directed overall. There were a couple of moments of masking when a character was left downstage centre in a spot which inhibited the actor who was speaking, and just a slight adjustment would have cleared the problem. I had an unresolved point over the choreographed moves of the hysterical girls in the court scene. Moving in unison, would the onlookers have assumed they had rehearsed their possession, and seen the deception, or would they in their twisted minds have assumed the devil was working this way? No marks lost for this as both ideas seem valid,, but I have not seen this stylised uniformity of acting their hysteria in any other production of this play.
The large and obviously experienced cast performed well. John Proctor (Ben Churchill) assumed a taciturn and quiet demeanour in his early scenes (occasionally difficult to hear, as were some others, but more of this in a moment.) He retained control of his emotions as he assessed the developing situation, which seemed like underplaying, and then ,when stirred, he eventually let rip effectively. He scorned and denied the accusations as false, resisted Abigail’s advances and then in very moving final scenes, made his peace with Elizabeth.
Elizabeth (Sarah Champion) took on all aspects of the role necessary. She was quiet, dignified, supportive of her husband and finally tragic, in a very good performance. Abigail (Kat Mann) was arrogant, realising her new power which added to her influence over the judges, as a woman of the period would have been submissive to the menfolk and they would have believed her outspokenness was the work of the devil. She fulfilled the role of seductress and liar powerfully in a strong performance.
Reverend Hale (David Lodge) a supposed expert in witchcraft, showed the essential honesty of the character and tried to establish the truth, while the obsessive Reverend Parris (Terry Casserley) gives in all too easily to his Puritan fundamentalism. These two excellent actors contrasted the sides of the argument and were vital to the success of the plot details as they unfolded.
Another ‘couple’ who worked well together were Giles Corey (John Asher) convinced the trials are a plot to steal his land, and Frances Nurse (Howard Elson). The elders of the village, who resisted the ongoing investigation, with good voices and realistic characterisation, together they added the views with which the audience would hold most sympathy. As the ill-fated Rebecca Nurse, Pauline Aldridge evoked the tragedy in a few brief moments.
The other side of the coin was revealed by Randal Stokes as Thomas Putnam. All to eager to accuse without any real evidence, his motives were personal gain. A fine voice and direct comments were important to us in establishing why some of the community behaved in this way. He was ably supported by his wife Ann (Lynn Andrews) in her growing resentment and belief that witchcraft was responsible for her stillbirths.
Mary Warren (Katy Devine) is a key role in the development of the plot. At first influenced by Abigail, then considering recanting to the truth, then succumbing to the threat of hanging, she is our one hope of saving the situation, and we cling to her words in the Court. These varied moments were beautifully caught by this actor, who essayed gullibility and fear with startling accuracy. The other girls, Mercy Lewis (Sarah Shipley), Susannah Walcott (Jo Kendall) Betty Parris (Cerys Beesley) and Tituba (Kike Schafer) perform in hysterical chorus (chilling !) and Betty is afflicted for a while before giving in. Tituba is only interested in returning to Barbados. All these ladies gave considerable credence to the tension and fear of accusation echoing round the community and the Court.
For the playwright Arthur Miller, Deputy Governor Danforth (Marlon Gill) is the true villain of the play. An opportunist, he refuses to suspend the trials even as they tear Salem apart. At every opportunity to cement his power and influence he ignores the evidence. A really strong performance is necessary for this role and Marlon did not disappoint. Harsh, arrogant and dominant, this was the key to the play as Miller saw it, both in historic and modern terms. He is assisted by Judge Hathorne (Terry Cavender) a pious acolyte who fails to uncover the truth.
Ezekiel Cheever, (Sam Warr) the corrupt Court Clerk hastened to do his duty and prove his loyalty, Hopkins (Liam Stephenson) is a marshal with simple duties. A cameo gem was realised by Gareth Johnson as Willard. Despite his unpopular role as arresting officer there was always a hint of sympathy and distrust in his demeanour as he obeyed orders until he finally and drunkenly shows his real feelings. In a few moments he conveyed a range of emotions.
This sizeable and talented cast acquitted themselves well in many moments of the play. I made a comment earlier about speech volume. I was surprised to discover that all the cast were miked. Two comments here; is it necessary in a modest sized auditorium? And despite the mikes, there were a number of important lines which I simply did not hear clearly enough.
This was a fine production despite my few adverse comments. The power of the play, with good sense versus superstition which is simply unbelievable to modern ears, was firmly placed before the audience. The journey through the play, with the variations of pace and tension, emphasis, dread and hope, was clear and controlled. Ruth Salsbury and her production team created a series of scenes which left us feeling frustrated by the bigotry and ignorance of 400 years ago.
Thank you for your hospitality and the opportunity to visit your beautiful theatre. A brief note; I visited Salem about 25 years ago while touring New England. Some of the original houses of the characters are still standing. The area exudes a solemn and mystic air, which the locals encourage, as it keeps the tourists coming!
Keith Thompson
GoDA
12.03.18
BERKHAMSTED THEATRE COMPANY
THE CRUCIBLE by Arthur Miller
This compelling and significant play, containing drama, political statement and history, is a challenging piece. In addition the director has to face the fact that Miller adds complex and detailed stage directions to the script. There are no longueurs in the driving narrative. Argument and counterargument, superstition and greed, opportunism and misused power, all collide at breakneck speed.
Many of the audience will inevitably be familiar with the story. The exposition in Act One setting the location, some of the main characters and the growing tension caused by their inability to understand Betty Parris’s malady was dealt with expertly and at pace. Relationships were clearly established and personal failings noted. This driving pace was maintained throughout the performance.
The stage design hinted at a fractured society (the upstage haphazard clapboard structures) the central wooden floor inset bespoke a spartan lifestyle and the noose dominated effectively. Period costumes seemed accurate – just a minor quibble, the hats of Corey and Nurse were too obviously modern and would have been better left off the stage. Sturdy furniture was slickly moved into place as required, props looked genuine and were handled well by the cast, and the giant gallows eventually overshadowed the climax of the play.
The opening recorded sung rhyme hung mysteriously in the air, and all the incidental music was well chosen. In earlier scenes set in candlelit cottages the lighting levels were realistic, i.e. not too bright, but this left me wishing there could have been a little less shadowy gloom. Of more concern was the choice of lighting cues: some superb effects were added on the backcloth during the second act but I could not understand why the cues were chosen. They did not always correspond with significant moments in the action and seemed to be random. Good to look at but adding nothing to the action – indeed rather distracting.
Grouping and movement, whether the content was a duologue or a crowd scene, was well directed overall. There were a couple of moments of masking when a character was left downstage centre in a spot which inhibited the actor who was speaking, and just a slight adjustment would have cleared the problem. I had an unresolved point over the choreographed moves of the hysterical girls in the court scene. Moving in unison, would the onlookers have assumed they had rehearsed their possession, and seen the deception, or would they in their twisted minds have assumed the devil was working this way? No marks lost for this as both ideas seem valid,, but I have not seen this stylised uniformity of acting their hysteria in any other production of this play.
The large and obviously experienced cast performed well. John Proctor (Ben Churchill) assumed a taciturn and quiet demeanour in his early scenes (occasionally difficult to hear, as were some others, but more of this in a moment.) He retained control of his emotions as he assessed the developing situation, which seemed like underplaying, and then ,when stirred, he eventually let rip effectively. He scorned and denied the accusations as false, resisted Abigail’s advances and then in very moving final scenes, made his peace with Elizabeth.
Elizabeth (Sarah Champion) took on all aspects of the role necessary. She was quiet, dignified, supportive of her husband and finally tragic, in a very good performance. Abigail (Kat Mann) was arrogant, realising her new power which added to her influence over the judges, as a woman of the period would have been submissive to the menfolk and they would have believed her outspokenness was the work of the devil. She fulfilled the role of seductress and liar powerfully in a strong performance.
Reverend Hale (David Lodge) a supposed expert in witchcraft, showed the essential honesty of the character and tried to establish the truth, while the obsessive Reverend Parris (Terry Casserley) gives in all too easily to his Puritan fundamentalism. These two excellent actors contrasted the sides of the argument and were vital to the success of the plot details as they unfolded.
Another ‘couple’ who worked well together were Giles Corey (John Asher) convinced the trials are a plot to steal his land, and Frances Nurse (Howard Elson). The elders of the village, who resisted the ongoing investigation, with good voices and realistic characterisation, together they added the views with which the audience would hold most sympathy. As the ill-fated Rebecca Nurse, Pauline Aldridge evoked the tragedy in a few brief moments.
The other side of the coin was revealed by Randal Stokes as Thomas Putnam. All to eager to accuse without any real evidence, his motives were personal gain. A fine voice and direct comments were important to us in establishing why some of the community behaved in this way. He was ably supported by his wife Ann (Lynn Andrews) in her growing resentment and belief that witchcraft was responsible for her stillbirths.
Mary Warren (Katy Devine) is a key role in the development of the plot. At first influenced by Abigail, then considering recanting to the truth, then succumbing to the threat of hanging, she is our one hope of saving the situation, and we cling to her words in the Court. These varied moments were beautifully caught by this actor, who essayed gullibility and fear with startling accuracy. The other girls, Mercy Lewis (Sarah Shipley), Susannah Walcott (Jo Kendall) Betty Parris (Cerys Beesley) and Tituba (Kike Schafer) perform in hysterical chorus (chilling !) and Betty is afflicted for a while before giving in. Tituba is only interested in returning to Barbados. All these ladies gave considerable credence to the tension and fear of accusation echoing round the community and the Court.
For the playwright Arthur Miller, Deputy Governor Danforth (Marlon Gill) is the true villain of the play. An opportunist, he refuses to suspend the trials even as they tear Salem apart. At every opportunity to cement his power and influence he ignores the evidence. A really strong performance is necessary for this role and Marlon did not disappoint. Harsh, arrogant and dominant, this was the key to the play as Miller saw it, both in historic and modern terms. He is assisted by Judge Hathorne (Terry Cavender) a pious acolyte who fails to uncover the truth.
Ezekiel Cheever, (Sam Warr) the corrupt Court Clerk hastened to do his duty and prove his loyalty, Hopkins (Liam Stephenson) is a marshal with simple duties. A cameo gem was realised by Gareth Johnson as Willard. Despite his unpopular role as arresting officer there was always a hint of sympathy and distrust in his demeanour as he obeyed orders until he finally and drunkenly shows his real feelings. In a few moments he conveyed a range of emotions.
This sizeable and talented cast acquitted themselves well in many moments of the play. I made a comment earlier about speech volume. I was surprised to discover that all the cast were miked. Two comments here; is it necessary in a modest sized auditorium? And despite the mikes, there were a number of important lines which I simply did not hear clearly enough.
This was a fine production despite my few adverse comments. The power of the play, with good sense versus superstition which is simply unbelievable to modern ears, was firmly placed before the audience. The journey through the play, with the variations of pace and tension, emphasis, dread and hope, was clear and controlled. Ruth Salsbury and her production team created a series of scenes which left us feeling frustrated by the bigotry and ignorance of 400 years ago.
Thank you for your hospitality and the opportunity to visit your beautiful theatre. A brief note; I visited Salem about 25 years ago while touring New England. Some of the original houses of the characters are still standing. The area exudes a solemn and mystic air, which the locals encourage, as it keeps the tourists coming!
Keith Thompson
GoDA
12.03.18
National Operatic & Dramatic Association London Region
Thank you for inviting me to your spring production and for the refreshments.
It is a very long time since I have seen Arthur Miller’s powerful play and it is as relevant today as it ever was now that we seem to be experiencing a recurrence of extremism and intolerance in the world. Ruth Salsbury’s direction was sure and this obviously contributed greatly to the cast’s ability to bring their various characters to life. You made good use of all available space too, including the exits from the auditorium which added depth to the space. Your groupings were always good – notably so in the trial scene and in the curtain calls.
I am not quite sure exactly how much Andy Kennett, as Assistant Director, and Adam Millard who was responsible for Staging and Movement, contributed to the overall success of the play but congratulations to all the directorial team. However, I was surprised that the girls in the Prologue did not sing especially as I am fully aware that several of you have excellent singing voices.
The simple set, designed and built by Andy Kennett, Ian Selinger and Paul Roxan, worked very well, dominated as it was in the first half by a noose and in the second half by the triple gallows – all very strong images which supported the story so well. The design enabled Stage Manager Kara Malone and her crew to manage the changes, indicated by furniture and props, quickly and efficiently.
Props by the company were, on the whole, as much in period as was possible, given that it is set in colonial Massachusetts towards the end of the seventeenth century. I did note a rather modern looking Portmeirion dish however! There was quite obviously no liquid to be poured from a jug – yes I know liquid on stage can be a huge problem and I quite saw why it had to be empty but had Elizabeth supported the base with one hand when pouring we could have got an illusion of weight.
Lighting, designed by Peter Humphreys and operated by Paul Roxan was atmospheric and very good at all times; the design was particularly effective at the end of the trial scene.
I noticed that, unusually in a play, the cast were miked. Some of you projected well but not others. I know that last year I mentioned projection and diction which were better this year but, just a thought for you, why not consider running a workshop which concentrates on projection techniques? If you include other local groups in this then it may be possible to get a training grant from NODA London. In the meantime, there will hopefully be an acting workshop at our NODA London Festival Weekend in June where you might pick up a few tips – details should be out by the end of March.
The background music was well chosen and atmospheric, congratulations to whoever selected it.
Wardrobe, Michelle Selinger was excellent; the costumes looked right for the community concerned. I liked the dirtying of Elizabeth Proctor’s dress after her imprisonment too.
The well designed and informative programme with photographs by Rosalind White was clear and easy to read. Do consider entering it into next year’s NODA London programme competition.
This is a play with a large cast and all of you were totally in character throughout and the minor roles were well played with the actors concerned always supporting the action I do have one question for you though - at one point several of you crossed yourselves. Why? You had fled such ‘Popish’ practices in Europe to establish a puritanical environment in the New World – one thing you would never have done is revert to Catholicism by crossing yourself.
I found David Lodge as the Reverend Hale very menacing and his character seemed to hang over the action even when he was off stage.
Terry Casserley portrayed the Reverend Parris well and we saw him as a rather ineffectual minister who was unpopular with his flock
Ben Churchill’s John Proctor came into his own and blossomed in his scenes with Elizabeth, his wife, who was very believably played by Sarah Champion.
Abigail Williams was portrayed by Kat Mann as a real little troublemaker who influenced and controlled her peer group and revelled in it. Very well acted Kat.
Katy Devine played Mary Warren very well and was totally in character throughout. Another well thought out characterisation.
The slave, Tituba, Kike Schafer, gave a dramatic confession which was well acted; your accent was good and you managed to avoid overdoing it which was good because so often, when an actor is playing the part of a black slave, it turns into a parody.
The other girls, Mercy Lewis (Sarah Shipley) Susannah Walcott (Jo Kendall) and Betty Parris (Cerys Beesley) all acted well and sustained their characterisations.
The ‘oldies’ Frances and Rebecca Nurse (Howard Elson and Pauline Aldridge) Giles Corey (John Asher) Thomas and Ann Putnam (Randal Stokes and Lynn Andrews) were universally excellent. Well played all of you. You can all project well too.
Marlon Gill’s characterisation of Deputy Governor Danforth rang true; well acted Marlon.
Roll on Chess! Good luck with casting and rehearsals too. I don’t want to wish the year away but I am looking forward to BTC’s version.
Judith Watsham
Regional Rep NODA London 11 and 11A
Thank you for inviting me to your spring production and for the refreshments.
It is a very long time since I have seen Arthur Miller’s powerful play and it is as relevant today as it ever was now that we seem to be experiencing a recurrence of extremism and intolerance in the world. Ruth Salsbury’s direction was sure and this obviously contributed greatly to the cast’s ability to bring their various characters to life. You made good use of all available space too, including the exits from the auditorium which added depth to the space. Your groupings were always good – notably so in the trial scene and in the curtain calls.
I am not quite sure exactly how much Andy Kennett, as Assistant Director, and Adam Millard who was responsible for Staging and Movement, contributed to the overall success of the play but congratulations to all the directorial team. However, I was surprised that the girls in the Prologue did not sing especially as I am fully aware that several of you have excellent singing voices.
The simple set, designed and built by Andy Kennett, Ian Selinger and Paul Roxan, worked very well, dominated as it was in the first half by a noose and in the second half by the triple gallows – all very strong images which supported the story so well. The design enabled Stage Manager Kara Malone and her crew to manage the changes, indicated by furniture and props, quickly and efficiently.
Props by the company were, on the whole, as much in period as was possible, given that it is set in colonial Massachusetts towards the end of the seventeenth century. I did note a rather modern looking Portmeirion dish however! There was quite obviously no liquid to be poured from a jug – yes I know liquid on stage can be a huge problem and I quite saw why it had to be empty but had Elizabeth supported the base with one hand when pouring we could have got an illusion of weight.
Lighting, designed by Peter Humphreys and operated by Paul Roxan was atmospheric and very good at all times; the design was particularly effective at the end of the trial scene.
I noticed that, unusually in a play, the cast were miked. Some of you projected well but not others. I know that last year I mentioned projection and diction which were better this year but, just a thought for you, why not consider running a workshop which concentrates on projection techniques? If you include other local groups in this then it may be possible to get a training grant from NODA London. In the meantime, there will hopefully be an acting workshop at our NODA London Festival Weekend in June where you might pick up a few tips – details should be out by the end of March.
The background music was well chosen and atmospheric, congratulations to whoever selected it.
Wardrobe, Michelle Selinger was excellent; the costumes looked right for the community concerned. I liked the dirtying of Elizabeth Proctor’s dress after her imprisonment too.
The well designed and informative programme with photographs by Rosalind White was clear and easy to read. Do consider entering it into next year’s NODA London programme competition.
This is a play with a large cast and all of you were totally in character throughout and the minor roles were well played with the actors concerned always supporting the action I do have one question for you though - at one point several of you crossed yourselves. Why? You had fled such ‘Popish’ practices in Europe to establish a puritanical environment in the New World – one thing you would never have done is revert to Catholicism by crossing yourself.
I found David Lodge as the Reverend Hale very menacing and his character seemed to hang over the action even when he was off stage.
Terry Casserley portrayed the Reverend Parris well and we saw him as a rather ineffectual minister who was unpopular with his flock
Ben Churchill’s John Proctor came into his own and blossomed in his scenes with Elizabeth, his wife, who was very believably played by Sarah Champion.
Abigail Williams was portrayed by Kat Mann as a real little troublemaker who influenced and controlled her peer group and revelled in it. Very well acted Kat.
Katy Devine played Mary Warren very well and was totally in character throughout. Another well thought out characterisation.
The slave, Tituba, Kike Schafer, gave a dramatic confession which was well acted; your accent was good and you managed to avoid overdoing it which was good because so often, when an actor is playing the part of a black slave, it turns into a parody.
The other girls, Mercy Lewis (Sarah Shipley) Susannah Walcott (Jo Kendall) and Betty Parris (Cerys Beesley) all acted well and sustained their characterisations.
The ‘oldies’ Frances and Rebecca Nurse (Howard Elson and Pauline Aldridge) Giles Corey (John Asher) Thomas and Ann Putnam (Randal Stokes and Lynn Andrews) were universally excellent. Well played all of you. You can all project well too.
Marlon Gill’s characterisation of Deputy Governor Danforth rang true; well acted Marlon.
Roll on Chess! Good luck with casting and rehearsals too. I don’t want to wish the year away but I am looking forward to BTC’s version.
Judith Watsham
Regional Rep NODA London 11 and 11A