The Crucible

As John Proctor, the proud and principled farmer who refuses to bend to the will of an abusive, theocratic regime, Peter Jones (V) crafted a man of seriousness and substance who grows increasingly desperate, then transformed him into an individual broken by torture and mistreatment yet somehow capable of defiance. Proctor’s dramatic gravity was contrasted skilfully by the striking performances of the show’s two female leads, both from St Vincent’s College. As Abigail, the damaged but manipulative teenager with whom Proctor has had an affair, Stella Hunyor was at once disturbed and vulnerable, bent on vengeance and destruction even as she yearned for Proctor’s attention. As Proctor’s long-suffering wife, Sage Croft delivered a carefully constructed portrait of woman attempting to maintain her dignity in a world turned cold and unpredictable.

Pictured: Sage Croft as Elizabeth Proctor

As for those innocent citizens who become collateral damage along the way, Abby Leibman’s vivid portrayal of Mary Warren made evident the precariousness of remaining loyal to the truth when joining the baying mob offers safety, while Ashwini Somia was convincing as the distraught and terrified slave, Tituba. As landowner Giles Corey, Demeil David (IV) proved something of a crowd favourite, with his exuberance creating an endearingly eccentric and sometimes comic figure; Patrick Busan (IV) was affectingly earnest as Francis Nurse; and Juliette Clark bravely took on the task of playing two elderly women, Rebecca Nurse and Sarah Good. Joseph Walsh (IV) was appropriately grating as the privileged and self-serving Thomas Putnam, and he was ably supported by Emily Sleep, whose grieving Mrs Putnam was a fine balance of brittle politeness and emotional urgency. As the enforcers of a cruel judiciary, Xavier Chylek (IV) and Raphael Gibson (IV) added a fittingly thoughtless masculine presence.

The production’s design goal was to create a world that seemed austere but shadowy and immersive, and crucial here was the work of composer Dr Nicholas Vines, whose insistent and suggestive soundscapes took us from the glassy tinkling of the dreamy opening sequence through to the unnerving undertones of the supernatural scenes. Credit must also go to the School’s new Production Manager, Mr Keelan Ellis, who oversaw the practical and technical complexities of the production with calm professionalism, and to Stage Manager Zain Lutfi (VI) and our young but skilful and conscientious crew.

Pictured: Peter Jones (V) as John Proctor, with Abby Leibman as Mary Warren