Scottish Ballet’s revival of Helen Pickett’s The Crucible is a sensation. Although based on Arthur Miller’s play, the story is given additional layers of emotional depth by hinting at archetypes behind the period setting, and by the emphasis in the first half of the show on the teenage girls burning up energy and pushing against their restraints, culminating in the fatal “forest dance” scene. From that point, their transformation into witchcraft accusers is almost inevitable.
We see a frightened teenage girl, trapped in an impossible situation
Notably, instead of Miller’s unequivocal characterisation of Abigail as possessing an “endless capacity for dissembling”, we see a frightened teenage girl, trapped in an impossible situation by the adults around her.
The stage lighting is stunningly effective, which, combined with the seemingly sparse set designs (set, costume and lighting by Emma Kingsbury and David Finn), makes almost the whole show feel as if it takes place at night or in dimly lit rooms.
This atmosphere of primitive darkness and dream/nightmare gives a timeless quality. The action clearly occurs in 1690s Puritan America, yet the forces driving the events are of any age and culture. Similarities with voodoo culture are a theme; even the clothes and headgear of the young girls are reminiscent of the standard Hollywood voodoo costume.
The music, by Peter Salem, is similarly timeless. There are live instruments mixed with recorded sounds, scenes with period-style music, and sections that even include electronic industrial music.
The cast is excellent. Much of the choreography is in intricate lockstep with the detail of the music, and this challenge is met with accuracy and emotion – ranging from slow duets to spectacular displays of group hysteria. All the parts are played with character, and the dancing is aligned with highly effective storytelling.
Portraying the complex psychology of Abigail is no simple matter, but Kayla-Maree Tarantolo carries the role with believability and subtle elegance.
Bruno Micchiardi plays Proctor, and there is something about him that helps give duets exquisite life and breath – whether in the lust duet with Abigail, the tender emotional arc of the reconciliation duet with his wife Elizabeth (played by Jessica Fyfe), or in the fierce, clashing duets with the Men of God.
To an extent, the thrills are reduced in the second half, which consists largely of the trial scenes, providing less opportunity for surprise and reinterpretation of the source material.
Overall, an eye-opening, exciting, atmospheric and, on occasion, spine-tinglingly graceful demonstration of the power of dance.
