Review by Ashlei Havili Thomas, Front Row Reviewers
The Crucible by Arthur Miller is a popular play– you may have read it in high school or college or have seen a production of it before. No matter your preconceived notions (or lack thereof), Utah Valley University’s The Crucible produced by The School of the Arts in Orem, Utah, is unlike anything else you may have seen. UVU’s The Crucible is nothing like some productions, which can be extremely dry and very long. While the UVU production is long with a run time of 165 minutes (2 hours 45 minutes), it is anything but boring. UVU’s production makes this 1950s expertly trimmed for a modern audience, with decreased dialogue and adding contemporary dance and scoring throughout the show that is entertaining but still communicating the important messages in the work. Haunting and wild, Utah Valley University’s The Crucible is a wonderful delve into your “Halloween era” this October in Orem, Utah.
Based on the Salem witch trials,The Crucible follows the Salem residents following an incident where the teenage girls of the town were seen by Reverend Parris (Liam Owens) in enjoying a forbidden, ritualistic dance in the woods. When the girls (fearing suspicion of them being witches) begin to falsely accuse other townswomen as witches, things start to get out of hand. Abigail Williams (Maura Monson)—the main instigator of these suspicions—uses her newfound status in the community to enact her own plot: have Elizabeth Proctor, her former mistress, declared a witch and killed so she can marry Elizabeth’s husband and one-time lover, John Proctor (Dylan Jon Thomas). Monson as Abigail is fascinating to watch onstage and does a wonderful job giving the audience snapshots of the scorned wife jealous and humiliated by the innocent ingenue. Monson’s balance of the two warring perceptions of Abigail is endlessly clever, showing just enough that no one can be sure which is the “real” Abigail. This is most obvious in the courthouse scene, with Proctor’s Monson and Mia Schoebinger (Mary Warren) (a manipulated pawn by frenemy Abigail), form a tug-of-war about Mary’s loyalty and testimony. Thomas’ commanding presence is a force on stage, portraying a man pushed to his absolute limits. Former lovers Thomas and Monson together create this incredible energy that draws in the audience watching their contention anytime they’re on stage. Schoebinger is compelling in her own right, bringing the audience in as she is trapped between these two powerful figures. Schoebinger also has the best connection to her dance counterpart, Chloe Bremser, creating a clear portrait of Mary’s inner thoughts and emotions as well as outer appearance and words. Schoebinger’s and Bremser’s combined motives and movements were extensions of each other and absolutely captivating.
This is a play with an important number of ensemble characters, and the cast of this production does not disappoint. With a long show like this one, it can be easy for the energy to dim or even die, but the feeling in the theater was electric. Even when the acting becomes background for the dancers and vice versa, both casts (dance and acting) are vibrant, supply one hundred percent to the performance. Owens’ Reverend Parris and Carter McEwan as Reverend Hale, initially summoned to Salem to uncover witchcraft, both create amazing character arcs that engage the audience into the backstory of the play, such as the many other women tried and hanged as well as unrest happening during these trials. Koryn Sobel (Tituba) is also a standout supporting actor along with her dance counterpart, Elisandra Mairym Rosario, catalyzing the other characters in their fears of witchcraft. The dance ensemble (which only works in tandem with the female characters) are mesmerizing as they interact with “unsuspecting” male actors, furthering this idea that the women are moving the men like chess pieces. Overall, this large ensemble is aesthetic, enthralling, and an unequivocal delight.
I had the opportunity to speak with a descendant of someone killed during the Salem witch trials about the play, this production, and the real history, comparing them. With several dance interludes, heavy use of lyrical scoring, and frequently changing lighting, this production of The Crucible is an eyeful, sometimes to the detriment of the audience. While younger theater goers with shorter attention spans may be entertained by the many layers of visual eye candy and drastically trimmed dialogue, it also can be confusing for older generations who have too much to look at all at once and may miss important moments. The descendant I spoke to reiterated these concerns, also questioning if the play truly honors the people who died in Salem during the witch trials. These critiques do not take away from the quality of the show, however; the lighting design by Ryan Fallis and scenic sculpture design by Jes Booth meld beautifully into one of the best production designs this reviewer has ever seen. There is clearly a lot of masterful directive work done (Lisa Hall directing, Christa St. John and Jamie A. Johnson choreographing and co-directing) to make sure the score, dancing, lighting, acting, and microphone fading are seamlessly harmonious, and are executed perfectly. Utah Valley University’s The Crucible is a feat of artistry rarely attempted, and many of the audience members loved the richness of the production. “I’ve never seen the show before,” said one audience member after the performance. “I thought the dancing was very cool, how they acted out how [the characters] were supposed to be feeling. I was very impressed.” Another excited audience member said, “[The play] was very interesting. I was captivated the whole time, really.”
Utah Valley University’s School of the Arts is kicking off “spooky season” with their visually rich production of Arthur Miller’s The Crucible this fall in Orem, Utah. With dance elements and a vibrant score, this show is a beautiful piece suitable for teens and adults. This large-scale production is up to par with many semi-professional and professional theaters in Utah, making it a perfect night out for a bone-tingling thriller right in the middle of Utah County. Utah Valley University’s The Crucible is a show you’ll be talking about for this year’s Halloween season, so don’t put off buying your tickets for Utah Valley University School of the Art’s production of The Crucible in Orem, Utah.
Utah Valley University School of the Arts presents The Crucible by Arthur Miller.
The Noorda Center, Scott and Karen Smith Theatre, 800 W University Parkway, Orem, UT 84058
September 26-27, October 1-4 7:30 PM
Tickets: $28 General Admission, UVU Students $4
Contact: 801-863-7529
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