“The Stratford production of Miller’s tragedy knits this high drama of contagion together with a moving personal story at its centre. What results are not only scenes of sweeping, dynamic action, but also still moments of quiet emotion and pathos. The current production mines both of these registers of the play with unfailingly fine performances throughout, in a drama whose supporting cast is more than usually important in conveying the interlocked tensions of a whole community in crisis.

What makes this production soar in the end, however, is the intensely imaginative and intelligent visual conception of the gnawing worm at the heart of Salem. The brilliantly achieved teamwork of director Jonathon Goad and designer Michael Gianfrancesco (with a nod to the lighting designer Bonnie Beecher) make this one of the most stunningly coherent visual productions of The Crucible that you will ever see.”

“In the middle of the #MeToo movement, which has done great work to not only highlight the mistreatment of women by men in positions of power, but also to dispel the myth that most women are making false accusations-this play comes at such an interesting time. In this play, women have very little power in an unjust society ruled by the patriarchy, and yet, Abigail and her friends are indeed making false accusations…and against other women no less.

Furthermore, Abigail has truly malicious intentions against the protagonists, but present day audiences are acutely aware that he is also a grown man who had an affair with an immature young teenager-something that is in no way her fault and yet it is often treated by Proctor as her main fault. This is messy and uncomfortable and will hopefully lead audience members to engage in further dialogue about how the society portrayed in this play begot the situation that these characters find themselves in.”

“… in a post-#MeToo Canada, how do we receive this play that warns us of the dangers of believing a group of young girls who say they’ve been abused and manipulated? Contemporary audiences may have unprecedented empathy for the young women of Salem, grasping their first tastes of power and agency even when it careens out of their control — in particular, ringleader Abigail Williams (Katelyn McCulloch), whose sexuality poses the biggest threat to the moral code in Miller’s Salem…

Goad points a condemning finger toward forces beyond this group of young women, who are constantly handled by older men — they grab their arms, squeeze their mouths, press down on their necks in this extremely physical production. And even in their rebellion, there’s warmth and solidarity among the girls; when Abigail is called a whore and humiliated in public by the man who broke her heart, they all cry. It’s a final reminder of their oppressive situation, despite the power they feel.”

“By journey’s end, it is abundantly clear that there is nothing more compelling than an unseen devil to allow the few to take lives, fortune and dignity from the many, all in the name of [fill in your own blank].

It’s a production not to be missed.”

“Goad’s direction of a uniformly superb cast creates a level of tension and terror that becomes almost unbearable as the play progresses inexorably to its tragic end. Tim Campbell is the very model of the rock-hard frontiersman who may not be particularly devout but who has an unerring sense of right and wrong. His struggle to stay true to himself while protecting his wife is heart-rending. As his wife, Shannon Taylor provides a portrait of a love that survives the greatest possible strain…

The Crucible is Miller’s most-produced play. I’ve seen a few of those productions but never one as powerful and emotionally shattering at this one.”