Copied from the Messenger website

A HOTHOUSE atmosphere of fear, persecution, and resultant retreat into self preservation is at the heart of The Crucible, set in 17th century Salem.

Arthur Miller's inspiration to write his classic play was the anti-communist witch hunt of the 1950s led by Joseph McCarthy, and it's relevant today in the age of terrorism.

When Betty Paris, the daughter of the town's Reverend falls strangely ill after a late night dancing in the forest with cousin Abigail, her father Samuel fears Becky's condition might be considered by towns people an act of witch craft – precisely what happens.

Suddenly, the town is torn apart. People turn on each other in using zealous anti-witchcraft accusations to settle hidden agendas and in the process, turns sly Abigail into a very dangerous young woman.

Director Megan Dansie's period style production manages to be simultaneously intimate yet grand in scale.

She draws the audience around her wide sparse prosage stage setting letting them close to the action while having room to manage the 21-member cast.

After a shaky start, the actors begin to warm to and articulate with skill the many petty and deadly agendas set loose by witchcraft hysteria.

This is due to perfectly casting lead roles with actors capable of carrying Miller's fiercely probing writing, mitigating the weaker output created by some actor combinations.

Once Brain Godfrey as Deputy Governor Danforth makes his entrance, the full strength of Dansie's production comes to the fore.

Godfrey's magnificently charismatic judge and executioner becomes the fulcrum on which pivots unbridled fanaticism against reason.

John Rosen and Louise Brumby as John and Elizabeth Proctor are pitted against Danforth and Samuel Paris (Richard Gruca).

Their richly warm, human characters strike at the heart, particularly Brumby's outstandingly delicate, deftly assured performance.

Caught in the middle, Siobhan Docherty's Abigail offers the right level of impassioned amorality but at times needs to control her performance more.

This enthralling but slow-burning production punches well above its weight at amateur theatre level thanks to actors such as Brumby, Rosen and Godfrey, who I'd like to see working as professional actors.

DAVID O'BRIEN

Review by Hayley Horton
Copied from the Adelaide Theatre Guide website

There is no doubt that Arthur Miller is one of the greats in playwright history. His text, "The Crucible" stands the test of time exploring the strengths and weaknesses of the human condition, our susceptibility to mass hysteria and the quick persecution of those who do not conform with the society at large.

Director, Megan Dansie has achieved nothing short of a small miracle with her conversion of the usually cavernous Burnside Ballroom into the puritan village of Salem, Massachusetts in the late 1600s. The set design is simple as any puritan environment should be, yet very effective. Complimented with Tim Allan's excellent lighting design, the use of the space is next to perfect and a great achievement for a venue that usually detracts from Burnside's productions.

Intertwined in Miller's messages are deep explorations of character, particularly in the role of protagonist, John Procter (John Rosen). Rosen's take on the tormented Procter takes a bit to warm to with a Russell Crowe-esque accent and gruff persona. However, the depth of emotion (particularly in the climactic final scene) is taken in Rosen's stride and his vast experience and skill is undoubted.

In a change from previous roles, Louise Brumby as Elizabeth Procter is aptly cool and distant with a strong undercurrent of moral righteousness that, although she looks a lot younger than Rosen is a good balance. This is Brumby's best performance for Burnside in recent years.

The remainder of the cast range in their grasp of what is a harrowing text. The ebs and flows of the hysteria and moral righteousness are captured well by Brad Martin as the Reverand Hale and the contrasting paths followed by Hale and Procter are well highlighted.

Siobhan Docherty as the sly and manipulative Abigail Williams has the spiteful element of this character well in hand, but requires more light and dark in her characterisation allowing for moments of manipulation rather than constant hysteria.

In contrast to Docherty, Hannah Wooller as the insipid Mary Warren gives a strong performance, notably struggling between following the girls and her loyalty to the Procters.

Other stand-out performances include Bryan Godfrey as Danforth and Richard Gruca as Reverend Samuel Parris.

Dansie's eye for detail and loyalty to the original text makes this production a welcome return for the Burnside Player's to quality drama and intelligent casting.