The Crucible, Arthur Miller’s attack on McCarthyism and the red scare of the 1950s, opens with the sound of a blowing wind and an eerily melodic tune to reveal a tall asymmetrical set highlighted by a sunset background, the shadows of its players a stark contrast to the bright rays.  The Crucible’s focus is on the internal fight of a human being for personal integrity while facing a judging society that demands its compromise.  Set in 17th century Salem, Massachusetts, the characters are a village of puritan followers who fall prey to spreading witch hysteria.  The Crucible showcases some brilliant acting ability, but fails in some areas to capture its audience.  It was difficult to be absorbed in the story because at times I had trouble understanding some of the actors’ lines, mostly because of faltering diction.  This kept me constantly guessing, requiring that I use other clues to follow the action.  However, the show was pulled through by it's fantastic characters, interesting set design and lighting scheme.   The play’s protagonist John Proctor, played by Eric Curtis, and its jezebel villain Abigail Williams, played by Lindsay Allen, delivered outstandingly intense performances.  Abigail and John are guilty of adultery, and Abigail uses her pull in the court to accuse John’s wife Elizabeth, played by Kaylor Otwell, of witchcraft in order to dispose of her and gain John’s love and attention.  Although not a complex character, Allen captured Abigail’s dark and lusty nature with ferocity.  Curtis must be commended for his strength in performance, making John Proctor an incredibly real and believable character that you just want to stand up and cheer for in the end as he is faced with the decision of preserving his goodness and integrity, or saving his life to be with his wife and children.  His decisive act redeems him of his earlier sins, implying his guaranteed entrance to Heaven.  Mark D. Nelson as Reverend John Hale also performed well, displaying his character’s transformation from authoritative witch hunter to merciful soul-saver.  I was impressed with Jessica Fike’s performance as Mary Warren also.  One of the girls involved in the courtroom proceedings, under John’s pressure she confesses her lies, but out of loyalty to her friend Abigail and fear of punishment, reverts to the condemnation of innocent villagers.  In general, all of the performers were terrific in bringing the play to life and grasping the motivations and attitudes of the period’s characters.
        The technical aspects of the show included some interesting uses of lighting and sound.  Much of the show had a sunset-like background, significant of the play’s setting on the edge of major change.  This was problematic, however, during scene changes when the actors’ silhouettes were a contrast to the bright background, making normally seamless changes painfully obvious.  The eerie music before the show sets the scene well, with a somewhat uneasy and sinister feel. 
        All in all, I recommend The Crucible to any theatre lover, especially those interested in the historical and political aspects of the time period in which it was written and the events by which it was inspired.