The Crucible

On paper, the premise of The Crucible: the musical reads almost as incongruously as matter and anti-matter occupying the same space. In this musical version of Miller’s most potent work about McCarthyism, witch hunts and the perils of individual thought against a relentless system, BRGS’s Head of Drama, Mr Neve conceived and directed a viscerally emotional, thought-provoking, highly- sensitive and timely production of this twentieth century classic. It was punctuated in its most poignant and dynamic moments with music from ‘Culture Club’ that Music teacher, Mr Webber, arranged sympathetically to not only support the story telling but also to lift the action out of the compelling intensity that is rarely seen in a school production . This innovative conception made the play less relic of the last century and more relevant than ever to the audience and the very talented pupils who presented it to us last week.

Mr Neve’s paired back staging to intensify the issues of the drama was visually stylish; if not almost nordic-noir, it was certainly sparse and puritan in spirit. He had also impressively created a truly ensemble cast where every role was vitally important and finely-nuanced. It is therefore almost unfitting to single any pupils out but certain roles were so remarkable, it would be criminal not to pay tribute. After the opening of the show- a thematically choreographed routine by Miss Gore and Miss Yasuda that underscored the demise of the American Dream - the operatic soprano of Grace O’Malley sent shivers down the spines of the audience. The pathos and beauty of this voice certainly set the right note for this soulful production.

The earnest and committed cast continued to deliver their performances with intelligence and integrity. The trio of young women who spearheaded the emotional stretch and pull of the action in the play were Charlotte Hartley’s Elizabeth Proctor that betrayed a wronged and wounded wife who, like her husband, was fighting to regain a unsoiled sense of self - Charlotte’s singing in this role was deeply moving and painfully emotional; Sophie Milne’s Abigail Williams was a real live wire, vicious and vitriolic but all actions attributable to a broken and battered heart – indeed the chemistry between Proctor and Abigail gave real credence to why this girl responded so savagely and without conscience;  Caitlin Shackleton’s Mary Warren was an endearing, tender-hearted girl confined by her lowly status yet dearly wishing to be of note in the world, unlike Abigail, she does penance for her mistakes whilst moving the audience in the process. Also noteworthy was Deborah Onuha’s energetic and skilfully controlled presentation of the sometimes problematic character of the terrorised and exploited Tituba.

Additionally, there was an impressive second tier of ensemble performances that gave the piece a formidable strength and serious depth and range such as John Chavasse’s and Krysytna Milejski’s Mr and Mrs Putnam or Oliver Isherwood’s pious yet rebellious, Reverend Hale, as did the musical landscape and mood provided by a most talented band and choir. In fact, it’s true to say that, even as the ages of the actors and musicians diminished, the quality did not.

All the above would have been more than enough to make this production special and noteworthy but Matthew Warren was an absolute revelation in the role of John Proctor. A faultless Irish accent and gruff, dynamic voice paired with a strong stage presence and precise physicality made him a natural in the role. However, his raw pent-up emotions when channelled into some of the heart-breaking lines were so painful for the audience it affected them to tears on several occasions. It was not a performance you could ever hope to achieve in a school but instead was every bit a highly professional performance. The balcony hanging at the climax of the production was heart-wrenching! Those lucky enough to witness Matthew’s John Proctor are still talking about it!

It is great to see a production in a school that is professionally performed, truly innovative and deeply moving.

Perhaps best summed up in the words of Emma Gauntlett, Development Director at BRGS:

“This was the most intense and maturely exquisite, sensitive, contemporary yet timeless production I have ever seen. Simply superb!”

Well done to the entire cast!

Review by Mrs Fowler-Gibbs

The Crucible 2016