While Shakespeare’s Globe is no stranger to new writing, modern classics like Arthur Miller’s masterpiece are an exciting event on its stage. There is a logic: the Salem setting, obsessed with the supernatural, has affinities to the Jacobean period and Miller surely had Shakespeare in mind during his hero John Proctor’s speeches. This fine production shows the play makes sense in the venue and is a serviceable revival of a great play.
Ola Ince directs the large cast with clarity – dealing with the girls who claim possession by the devil, their victims, and the judiciary who set up witch trials. While accusations mount and tragedy ensues Ince brings the whole of Salem to the stage. The production is energetic and the dramatic stakes high, culminating in a potent emotional conclusion.
There are some interesting interpretations of the play’s famous characters. Our main villain, Abigail, is presented as ruthless but also more than a little mad by Hannah Saxby. The power her claims give her is intoxicating and scenes of confrontation with Proctor fantastic. Saxby makes it easy to see Abigail’s power over the other girls and with this there is good support from Bethany Wooding and Molly Madigan. The Reverend Parris (Steve Furst) is neurotic from the start while Jo Stone-Fewings’ Reverend Hale a touch too pompous. It becomes easy to dismiss them both (although Stone-Fewings denouncing the court is a grand moment). Judge Danforth becomes a big role in the hands of Gareth Snook – a true fanatic in scenes that, despite managing to be frightening, come too close to funny. It could be argued these male roles are too broad, but each illustrate thorough work and deep thinking on the part of Ince and her cast.
Additional stages in the pit are at times fussy but provide audience engagement. Watch out if you are standing – there are tumbrels to avoid. The use of a musicians gallery and even the attic space high above the stage are inspired, giving us yet more insight into paranoia and suffering. Ince might have born in mind the danger of how silly a modern crowd find these “fearful proofs” of witchcraft. It’s hard not to have people laugh when characters take flying girls seriously or are shocked at dancing but the play needs this to be avoided at all costs.
Thankfully, the story of John and Elizabeth Proctor is very serious. Gavin Drea and Phoebe Pryce, who take the roles, are highlights and go a long way to secure the production’s success. Pryce has Elizabeth’s integrity down pat, without smugness or resignation. We don’t see enough of Elizabeth (Miller’s flaw), but Pryce develops the role with skill. Her husband is both virile and conflicted with Drea managing to convey the struggle and intense anger. Importantly, while there’s little feeling sorry for this flawed man, he still becomes an inspiration. That Proctor “has his goodness” is palpable by the end of this powerful performance.
Until 12 July 2025
Photos by Marc Brenner
