“This play still stokes the passions and this production impresses the senses“
Con Nats
4 Witches
In Select Australian Cinemas March 4
It’s been a long time since society has been burning witches and common sense in the flames of Christian hypocrisy, so I questioned the validity of resurrecting Arthur Miller’s dark play, even with Aussie Brendan Cowell in the lead. Yet the latest National London Theatre production still raises the fires in our bellies and questions who we’re going to burn next at the stake.
The play opens with a shower of rain as the curtain, with a golden glow hanging over the young girls singing before it shifts into the dark house of Reverend Parris. His daughter seems sick after dancing and drinking too much chicken blood the previous night – they really knew how to party. Abigail (Erin Doherty) is accused of leading the devil’s work and witch hunting Reverend Hale (Fisayo Akinade) is called for. Let the finger pointing and paranoia begin.
The young girls are corralled into being the jury and seem to act possessed on cue when an accused is brought before them. The synchronicity in the scene when their lies are being called out has great impact.
It’s verging on hilarious to hear the outrage at girl’s dancing in the night and ridiculous logic of the self-righteous judges. If you deny you’re a witch, that’s proof you’re a witch as only a witch would deny it. If you admit you’re a witch, you can go free, after you accept God into your heart and name a few others.
If you’re a cynic like John Proctor (Brendan Cowell) who only attends church once a month, then you’re to be questioned. And his wife Elizabeth (Eileen Walsh) is also arrested for having a poppet in the house, which was gift from their housekeeper and subsequent accuser Mary Warren (Rachelle Diedericks). And poor old Rebecca Nurse is charged with killing nine babies while actually helping deliver them, despite going to church weekly.
Arthur Miller’s script still sears and soars. It was written in 1953 as a comment on McCarthyism and is still relevant today, when you consider how quickly people believe politicians’ lies. Witch hunt hasn’t left our vernacular for a good reason.
The problem with some of these theatre productions is the voice projection. Over doing it can take away the natural feel of the lines and lead to overacting, especially in the fraught second scene.
Enter Brendan Cowell. While his accent confused me at first, his soft tones and humour charms us. His projection and delivery are spot on and his portrayal of John Proctor was to play him as an honest farmer. He really stood out in a cast of standouts.
Almost every character is given an arc and every actor has their chance. Some grab theirs better than others. Akinade is convincing as Reverend Hale, who represents the Church’s repentance and who is broken by the process. Doherty (The Crown) is scarily good as Abigail. Karl Johnson charms as Giles whose last words when having stones placed upon him were “More weight.”
Others like the Putnams and Matthew Marsh (Dunkirk) as Deputy Governor Danforth are one level. (His supporting judge is even worse.) It’s obvious who the villains are meant to be.
Most impressive are the set and music designs. An extravagant black set with soft lighting on the few pieces of furniture and actors has never looked so menacing and provides a nice focus on the characters. The soundtrack complimented the darkness, along with the haunting singing behind a scrim. There are few if any false notes played here.
Lyndsey Turner’s direction has been to stay faithful to the original and add some explanatory notes at the opening and tail. This production focuses more on the class aspect than the church’s role, as the trails were used for the wealthy to usurp the lands of the bedevilled. The Church is almost forgiven but still stirs the embers of discontent and anger. This play still stokes the passions and this production impresses the senses.
Con Nats, On The Screen
