The Crucible, as a script, incites one of two emotions into every audience member... either, "Yes! I love that show" or "Someone kill me before I have to listen to these girls scream continuously for two hours." The show can either be extremely moving or terribly boring. The Crucible has actually been one of my most favorite shows since I was younger, and I would either love to direct or be in it some day. From a production perspective, it is not the easiest show to handle. The script is beautifully written, but it does pose a few problems to those wishing to produce it, albeit a professional theatre, college, or high school theatre program.
One of the most difficult things about any script set during a time that is foreign to us is the language. Like the majority of things written concerning this period in history, it is written in a different vernacular than what we speak today. Some of the character's lines, including Tituba, are written in a dialect. Done incorrectly, her character could lose its magic. Dialects and accents can cause problems for any type of theatre producing this show. A vocal coach would be a good idea for a production team to pick up in this situation.
At Sam Houston State, we are perfectly capable of producing this show. Problems with casting its characters and the construction of the set is the only thing that constitutes any worry in my mind. The cast for this play is always a challenge because if you do not pick the right type of person, the show could fail miserably. Proctor, in Arthur Miller's mind, was a physically strong and handsome man. Adding to that, I believe he should also be tall with a full head of hair... Casting that character with the "slim pickings" we have here is not ideal. There are few men who have been able to pull off that role, and it is obviously the most important in the script. Set construction could also be an issue. I know there are always conflicting views amongst designers and directors as to what/how the set needs to be built. You could go extremely minimalist with this show, but it could also be a very grand set... There needs to be some kind of happy medium between all parties invovled as to how everything will look. To make this show historically accurate is also important. A lot of research will be set on the dramaturg and designer's shoulders, and it is up to them to figure out how everything needs to be done and done correctly. Hopefully disagreement would not keep Sam Houston from producing a wonderful show.
The last two paragraphs, I wanted to meld together since they go hand in hand. The production problems of this script have been solved or dealt with by theatres all over the world. In my readings, almost every professional production of this show is somewhat successful. John Proctor is considered to be Greek King-like with a fragile wife. Tituba is a Barbados slave with a thick dialect that comes off as understandable, and the supporting roles are continuously strong and solid. Sets have been minimal, but some have built entire house frames on the stage. Either way, the critics have enjoyed.
Arthur Miller gave the world a bit of magic in writing this script, as did the men and women the story is about. I believe the show can be successful any where it is produced. Intelligent, hard-working people are a must... And it just has to be a common understanding amongst the crew, director, and company that they will put forth their best effort in making their show note-worthy. When everyone is on the same page and has talent and a positive attitude, the show will not fail.
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