The Crucible brings religious tension to centre stage
Rebecca Lazarenko
Issue date: 6/20/06 Section: Culture
Abigail deliberately attempts to destroy John's wife by having her hung as a witch. Quickly, the troubled, though mending couple find themselves attempting to prove their innocence while remaining true to themselves.
Head of Design, William Schmuck, explained the purposeful motif of the theatre costumes and props in mindfulness of the storyline itself.
"In the case of The Crucible, I would suggest that the design is meant to evoke the Spartan and arduous existence lived by the Puritans of 17th century Salem, without being literal. The heavy wooden beams and primitive weighty machinery suggest unrelenting hard work and lives lived with simplicity and discipline. The costumes will evoke the same simplicity as their environment but through the use of natural colours and fabrics, will suggest a sensual world of hand-made garments. These porous fabrics retain human stain easily like the sins in the lives and reputations of those who wear them".
Unlike other adaptations of The Crucible, the Shaw Festival's presentation allowed for satirical, even laughable moments throughout the drama. The play had a clear admittance that humour occurs in the most awkward of places. For instance, when Proctor and his wife were asked to recite the Ten Commandments, John produced only nine and repeated the third. "Adultery, John," his wife had chimed in and Proctor went on to say that between them, they had all 10.
Equally satirical was the play's take on religion. While the context could not have sincerely offended anyone who happened to be religious, there was a distinctive question of traditional practices, a clear criticism of religious extremism and intolerance, and the idea that those who are Christian in their own way, or even non-Christians altogether, are as worthy of blessing and protection.
As is typical of a Shaw performance, the actors were highly skilled and instantaneously convincing. The professional set changes were nothing less than brilliant as was the opening of shadow, chanting and scenery.
"There is a black and white diorama that surrounds the stage behind the acting platform," Schmuck said. "It is a modern high contrast photograph of snow-laden trees that suggest violence and severity, modulated by the lighting."
From dialogue addition to costume choices, Shaw's performance proves the most chilling and expertly crafted retelling of the witch trials you will probably ever see.
The Crucible officially opens June 23 and runs through October 14. The Shaw Festival offers half-price student tickets and $30 passes if you are under 30. For more information visit www.shawfestival.com.
Head of Design, William Schmuck, explained the purposeful motif of the theatre costumes and props in mindfulness of the storyline itself.
"In the case of The Crucible, I would suggest that the design is meant to evoke the Spartan and arduous existence lived by the Puritans of 17th century Salem, without being literal. The heavy wooden beams and primitive weighty machinery suggest unrelenting hard work and lives lived with simplicity and discipline. The costumes will evoke the same simplicity as their environment but through the use of natural colours and fabrics, will suggest a sensual world of hand-made garments. These porous fabrics retain human stain easily like the sins in the lives and reputations of those who wear them".
Unlike other adaptations of The Crucible, the Shaw Festival's presentation allowed for satirical, even laughable moments throughout the drama. The play had a clear admittance that humour occurs in the most awkward of places. For instance, when Proctor and his wife were asked to recite the Ten Commandments, John produced only nine and repeated the third. "Adultery, John," his wife had chimed in and Proctor went on to say that between them, they had all 10.
Equally satirical was the play's take on religion. While the context could not have sincerely offended anyone who happened to be religious, there was a distinctive question of traditional practices, a clear criticism of religious extremism and intolerance, and the idea that those who are Christian in their own way, or even non-Christians altogether, are as worthy of blessing and protection.
As is typical of a Shaw performance, the actors were highly skilled and instantaneously convincing. The professional set changes were nothing less than brilliant as was the opening of shadow, chanting and scenery.
"There is a black and white diorama that surrounds the stage behind the acting platform," Schmuck said. "It is a modern high contrast photograph of snow-laden trees that suggest violence and severity, modulated by the lighting."
From dialogue addition to costume choices, Shaw's performance proves the most chilling and expertly crafted retelling of the witch trials you will probably ever see.
The Crucible officially opens June 23 and runs through October 14. The Shaw Festival offers half-price student tickets and $30 passes if you are under 30. For more information visit www.shawfestival.com.
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