Based on the play of Arthur Miller

Choreographed by Helen Pickett

Artistic Collaboration by James Bonas

Composition by Peter Salem

A prescient message of our time, the relevance of texts to a modern audience seems to change very little – only in so far as who finds themselves the target of today’s witch-hunt. Claustrophobic, illustrating the darkness lurking beneath a community turning in on itself, Scottish Ballet’s The Crucible is an evocative ballet which has expectations to live up to following the Edinburgh International Festival.

Few companies can encapsulate the source material, while still offering a reason to adapt, quite like Scottish Ballet. What happens with Arthur Miller’s iconic play, known to drama students, writers, academics and fans across the nation is nothing short of mesmeric sorcery. The suggestion that there was witchcraft at work here is applicable, but regrettably, we’re all too aware of those repercussions. 

It is, as in any production of The Crucible, the seductive entwining of Abigail and John Proctor which foreshadows the prospect of a production’s success. To find a measure of sexual passion, only just outweighing a genuine sense of romance, delivering a pas de deux of devastating betrayal against Proctor’s wife Elizabeth. Yet, there is no sight more painful than a ballerina attempting to engage without reciprocation. No matter how hurt, how Claire Souet laces her form against Barnaby Rook-Bishop, he remains in character, a husband realising his mistakes, even as she caresses, attempting to connect.

The proverbial marriage made in heaven – choreographer Helen Picket, together with theatre director/artistic collaborator James Bonas, concoct a profound connection with facial expression, storytelling and a heart of theatre with a soul of dance. Echoing a sense of community, capturing the dread of ‘fake news’, anxiety and the ease of truth distortion, it’s a production which reminds we haven’t come as far as would desire.

Inspirational, the richness in characterisation present onstage is impressive. All too often ballet companies find themselves at the mercy of silent performers – not Scottish Ballet. How, then, does one communicate a character as stoically earthy, immovable, as Danforth or the court? With staccato manoeuvres, the trio of danseurs – particularly Rimbaud Patron, communicate such weight, despite their featherfoot movements. Their presence in Salem is clear, their motives sharp, decisive and imposing. 

Stiflingly hypnotic, the en-pointe synchronisation for such minute movements is awe-inspiring – particularly for Abigail and troupe as they feign their naivety towards Danforth. Their feet become needles, stitching the fates of those they besmirch – weaving a soft foot across a blanket of lies. Delivering a superb solo, Katlyn Addison’s Tituba counters Souet’s characterisation of the manipulative Abigail. Fragile, fluid and open – Addison is engrossing to watch, drawing grief as we come to realise her fate, her swansong elevated through Peter Salem’s score.

Rarely is it this important for the composition to maintain pace with the movement on stage, Salem has outdone previous works with the construction of The Crucible’s score. The nuances in tone, rising in waves to balance the performance is down to a fine art, with astute, shrieking rasps of the string to emulate blinding panic, to a boundless, soft-sounding sense of love, struck with lashings of regret.

Jean-Claude Picard’s conduction this evening is effective in control. Crossing a variety of genres, in an intense ménage of an almost urban tribal mash-up of ballet and street-dance. Encircling, taunting one another further – shedding their gowns as their morality, compassion escapes them, Soeut leads a dance troupe as the dancers grow in fever-pitch which is rightfully as bombastic as the score. With a graceful transition of the woodland serving as a backdrop, it stands as a stand-out of the production.

These backdrops – a combination of designers Emma Kingsbury and David Finn brilliance, range in their visage as unforgiving stone walls to the unrelating hypocritic ‘comfort’ of the church’s light. Flynn’s toying with shadow, the puppet wolves Souet and crew fantasise descending on the Proctor house are a stark, entrancing reminder of the callousness behind Abigail’s smile. Equally as inventive, Kingsbury’s costume is period-appropriate, offering significant authenticity, emphasising aspects such as Danforth’s shoulders, the restrictiveness of Reverend Hales top-piece or the flowing, effortlessly shed gowns of the girls.  

So, it is a providence the thing is out – Scottish Ballet’s the Crucible is everything you may have read, but everything more. This is a pinnacle of the companies’ 50-year celebration, a clear illustration of the talent, dedication and genius which are repaid thrice fold in appreciation, enjoyment and respect. However you seek a ticket, even if you have to dance with the devil, chances are you’ll be forgiven.

Runs at Theatre Royal Glasgow until September 28th – then touring Scotland – tickets available from Scottish Ballet: https://www.scottishballet.co.uk/event/crucible

Photo Credit – Jane Hobson