By Arthur Miller
National University Theatre Society
Directed by Jonathon Sharp
ANU Arts Centre
April 14-17
I went to see this cut down version of The Crucible because I’d recently re-read the script and realised I’d never seen a performance of it, and because I was intrigued that this production promised the use of neutral mask. I was more intrigued as we were led up upstairs in small groups (for OH and S reasons) and seated in the small rehearsal room set up for corridor theatre, with audience on both sides of the narrow stage.
Intrigue turned to irk as a group of actors in cheap plastic white masks twirled in singing a contemporary Pagan invocation. WTF? Is the play going to have a contemporary twist about modern Wicca? And- if you’re going to wear masks, can you learn how to wear them properly? There’s a certain style of movement that honours the mask and brings it to life you need to learn. The very least you can do is wear your hair so it hangs over the edges of the mask, so we have some chance of reading it as your face.
We then erupted into a deftly cut version of Millers’ text. The first scenes suffered from having every emotional line shouted, and many of the lines between raced through to get to the next shouted bit. And yet, something was working.
Slowly, slowly, the cast found their rhythm and allowed themselves to be affected by Miller’s bitter tale. I was drawn into the bloody injustice savaged upon John Proctor (William Morris). By the final scene, my breath was held and my eyes moist, as John defies the cruel judge Danforth (Morgan Little), knowing he will surely hang for it.
The production was at its finest when most stylised. The singing in the background, the lines spoken in unison, the dialogue in the dark, characters addressing each other, but facing opposite sides of the audience, these devices used the corridor staging most effectively, and brought out the best in a young cast. The production would have been stronger had there been more of this.
But not more of the masks, please, which were always used badly, and added nothing to the performance. Though they were one of the reasons I came to the show. And we never did re-visit contemporary Wicca.
I have other small criticisms. The miming of props was distracting, especially as the mime was clumsy. Most f the cast would benefit from further voice training, as some lines were lost sue to poor articulation or projection. And bad, supposedly funny, quotes in a program look dodgy in a way that doesn’t do justice to the talent in this cast and crew.
Nevertheless, this young cast with no budget took me to the heart of a play that is challenging, disturbing and, sadly, still relevant. Thank you.
