Compelling cast complements ‘The Crucible’

TOM TITUS

When Arthur Miller was disturbed by the Communist-hunting inquisition

spearheaded by Senator Joseph McCarthy in the 1950s, he responded the

only way a playwright could -- with a play condemning this modern-day

witch hunt.

The result was “The Crucible,” one of the legendary dramatist’s

most intense dramas, which drew an unmistakable parallel between

McCarthyism and the Salem witch trials of the late 17th century. This

landmark play is being revived with sinew and gusto at the Huntington

Beach Playhouse.

Director Michael Ross has woven a rich and powerful tapestry in

his compelling production -- although he does omit one scene that

amplifies the relationship between two principal characters,

presumably for time considerations. An enormous company of actors

creates a resounding ensemble in this difficult period production.

The centerpiece of “The Crucible” is John Proctor. A farmer with

high moral values, despite his own flawed recent past, he’s a man

who, at his peril, resists the dictates of the church over his life.

Anthony B. Cohen delivers a brilliant, thought-provoking performance

in this role, his strength of character underscored by a superlative

stage voice.

Nick Cook, as the town’s self-aggrandizing minister, is the play’s

most strident voice for the forces condemning “witchcraft.” Lori

White is exceptional as the fragile yet forceful wife of Proctor,

whose only untruth ever uttered seals her husband’s fate.

The McCarthy-like figure of deputy Governor Danforth is strongly

interpreted by Lewis P. Leighton, who conducts the witch trials with

an iron hand. Ed Dyer is somewhat ineffective as the more

compassionate Rev. Hale, due to a curiously simplistic line reading,

although he gains momentum in the climactic scene.

A standout in the huge supporting cast is Tom Bien as the

litigious farmer Giles Corey, a strong and stubborn figure who

refuses to be intimidated. Amie Shapiro is a lusty, duplicitous

Abigail Williams, whose illicit relationship with Proctor is glossed

over due to the scene omission.

The Barbados slave girl Tituba is given a marvelous performance by

Karly Pierre, while Andrew Kelley and Jane Nunn are strong in the

roles of the Putnams, a rural couple caught up in the witch-hunting

maelstrom. Ivar Vasco is a stolid Judge Hathorne, while Melissa Donn

fans emotional flames as the Proctors’ servant who writhes in

Abigail’s thrall.

Gwen Wooldridge and JLT Williams excel as an elderly couple that

refuses to surrender to the town hysteria. David Rusiecki’s officious

Ezekiel Cheever and Chelsi Gabbriellini’s pseudo-possessed Mercy

Lewis shine in minor assignments, as does young Hayley Palmer as a

bedridden victim of the “witchery.”

James W. Grussing’s spare set design, allowing multiple locations,

works well for the Huntington Beach production, which is enriched by

Kiana St. Laurent’s lighting and Ron Wyand’s sound effects.

Particularly effective are Andrew Otero’s period costumes and scenic

artistry.

“The Crucible” certainly is no stranger to local theater, yet its

conscience continues to engage and inspire audiences, especially when

all its elements mesh as successfully as those at the Huntington

Beach Playhouse.

* TOM TITUS reviews local theater for the Independent.