The Crucible

THE CRUCIBLE

ARTHUR MILLER

ON STAGE JULY 25

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Salem, Massachusetts, 1692: a small, devout town is thrown into chaos with accusations of witchcraft and spiritual possession. Arthur Miller's explosive account of the famous Salem witch trials caused a sensation with its parallels to the Communist scares of the 1950s, and remains one of his most enduring classics.

Directed by Albert Schultz
Featuring Akosua Amo-Adem, Derek Boyes, Oliver Dennis Raquel Duffy, Patricia Fagan, Michael Hanrahan, Stuart Hughes, Qasim Khan, Sarah Koehn, Courtney Lancaster, Justin Many Fingers, Diego Matamoros, Hannah Miller, Nancy Palk, Gregory Prest, Mike Ross, Paolo Santalucia, Michael Simpson, Maria Vacratsis, William Webster, Daniel Williston and Joseph Ziegler.

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Background Notes

by Soulpepper Associate Artist Toby Malone

One of master playwright Arthur Miller's best known works, it is important to remember that The Crucible was received largely unenthusiastically on its Broadway debut. A thinly-veiled critique of the controversial anti-communist trials led by Senator Joseph McCarthy, Miller's historical witch-hunt deliberately eyes the House Un-American Activities Commission's interrogation of key artistic figures over allegations of communist propaganda in the Hollywood film industry. The hysteria which accompanied the threat of communist infiltration splintered communities and ended relationships, including that of Miller and his long-time collaborator Elia Kazan. Kazan, who directed the original productions of Miller's Death of a Salesman and All My Sons, testified against eight members of the Group Theatre as former or current communists. This decision haunted Kazan for the rest of his life but it also prompted Miller to begin researching the Salem witch trials, where he saw a correlation. The historical fact is that between 1692 and 1693, over 150 Massachusetts citizens were arrested for association with suspected witches, while 19 were put to death. Miller used the snowballing effect of accusation, counter-accusation, and intimidation to highlight what he saw as the injustices of McCarthy's own witch-hunt. As Abigail Williams' story spiraled out of control, and John Proctor's past indiscretions became writ large on his reputation, the trials became bigger than a discussion of the supernatural and more about the human ability to consume oneself. Even without rapturous praise, The Crucible won the Tony Award for Best Play and stood as a powerful indictment of the day's political machinations. Miller, in turn, was called before the House commission some years later, and true to his ideals, refused to 'name names.' As the memory of communist fear recedes, The Crucible remains a vital document of the ways in which history repeats and how fear can push humans to their breaking point.