The opening address is an immediate indication that the production doesn’t trust the text itself to do its dramatic work.Īlthough this political thriller was written in response to America’s mid-20th-century fever of McCarthyite witch hunts and the naming of names, there has, on either side of the Atlantic, never been a time when the play was not “relevant.”Īnd it’s to the play’s immense credit that successive productions have found in it a unique response to the tenor of its time. There are also text changes, with Turner adding an expository prelude and a coda from Miller’s writings about the play, in which the before and after is announced to the audience in a tone of high seriousness. Now reused for “The Crucible” in the 1,029-seat Olivier amphitheater, opening and closing the play and punctuating the scene changes, it seems less metaphorical, more an over-displayed effect. It was a fitting metaphor for Friel’s fictional village.

In 2016, she and designer Es Devlin transformed the naturalism of Brian Friel’s masterpiece “Faith Healer” at the 250-seat Donmar Warehouse by encasing the three-sided stage with a curtain of pouring rain lit so that the water gleamed like a cage of hard, white light. Turner’s decision to “assist” the play is also there in her equally operatic visual response. While some 69-year-old plays need dramaturgical assistance to be successfully revived, this is not one of them. But this is not the opera… or is it? Lyndsey Turner’s grandiloquent National Theatre production of Arthur Miller’s imperishable 1953 classic is so overloaded with singing from the opening period-style choral folk song to a final major-key angelic chorus - not to mention a permanently portentous soundscape - that you could be forgiven for mistaking it for the opera. There is an opera of “ The Crucible.” Written by Robert Ward, it won the 1962 Pulitzer Prize.

Arthur miller's play the crucible