The Crucible

Theatre

West End

Old Vic

Until Sat Sep 13

  • © Johan Persson

    Richard Armitage (John Proctor) and Samantha Colley (Abigail Williams)

  • © Johan Persson

    Richard Armitage (John Proctor) and Natalie Gavin (Mary Warren)

  • © Johan Persson

    Richard Armitage (John Proctor)

  • © Johan Persson

    Richard Armitage (John Proctor) and Anna Madeley (Elizabeth Proctor)

© Johan Persson

Richard Armitage (John Proctor) and Samantha Colley (Abigail Williams)

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Venue details

MAP CLOSE
  • Name:

    Old Vic

  • Address:

    Old Vic 103 The Cut
    Waterloo Rd
    London
    SE1 8NB

  • Venue phone:

    0844 871 7628

  • Venue website:

    www.oldvictheatre.com

  • Opening hours:

    Bar open 6pm-midnight Mon and Tue; 1pm-midnight Wed; 6pm-2am Thu and Fri; 1pm-2am Sat

  • Transport:

    Tube: Waterloo; Rail: Waterloo

  • Map

    1. Old Vic
  • Categories:

    Theatre. Drama. West End

The Crucible 2014

  • Aug
  • Sep
  • Oct
  • Nov
  • Dec
  • Jan
  • Feb
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  • Apr
  • May
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  • Date Time Price information
  • Fri Aug 1
    19:30
    £10-£55
  • Sat Aug 2
    14:30
    £10-£55
     
     
    19:30
     
     
  • Mon Aug 4
    19:30
    £10-£55
  • Tue Aug 5
    19:30
    £10-£55
  • Wed Aug 6
    14:30
    £10-£55
     
     
    19:30
     
     
  • Thu Aug 7
    19:30
    £10-£55
  • Fri Aug 8
    19:30
    £10-£55
  • Sat Aug 9
    14:30
    £10-£55
     
     
    19:30
     
     
  • Mon Aug 11
    19:30
    £10-£55
  • Tue Aug 12
    19:30
    £10-£55
  • Wed Aug 13
    14:30
    £10-£55
     
     
    19:30
     
     
  • Thu Aug 14
    19:30
    £10-£55
  • Fri Aug 15
    19:30
    £10-£55
  • Sat Aug 16
    14:30
    £10-£55
     
     
    19:30
     
     
  • Mon Aug 18
    19:30
    £10-£55
  • Tue Aug 19
    19:30
    £10-£55
  • Wed Aug 20
    14:30
    £10-£55
     
     
    19:30
     
     
  • Thu Aug 21
    19:30
    £10-£55
  • Fri Aug 22
    19:30
    £10-£55
  • Sat Aug 23
    14:30
    £10-£55
     
     
    19:30
     
     
  • Mon Aug 25
    19:30
    £10-£55
  • Tue Aug 26
    19:30
    £10-£55
  • Wed Aug 27
    14:30
    £10-£55
     
     
    19:30
     
     
  • Thu Aug 28
    19:30
    £10-£55
  • Fri Aug 29
    19:30
    £10-£55
  • Sat Aug 30
    14:30
    £10-£55
     
     
    19:30
     
     

Users say

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<strong>Rating: </strong><span class='lf-avgRating'>0</span>/5

Average User Rating

4.3 / 5

Rating Breakdown

  • 5 star:4
  • 4 star:1
  • 3 star:0
  • 2 star:1
  • 1 star:0
LiveReviews|6
11 people listening
Alice R
1 of 1 found helpful

Never in my life have I been so gripped and personally invested in a plot; I’m surprised I have any nails left at all; my hands were raking through my hair almost continually.

I have also never wanted to kill quite so many characters as in this play; Abigail Williams (Samantha Colley) is a shrieking banshee, accusing practically the whole town of being a ‘consort of the devil’ in an effort of divert suspicion from herself and take personal vengeance on farmer John Proctor (Armitage) and his honest, upstanding wife, Elizabeth (a poised, dignified Anna Madeley, who was also the Governess in ‘The Turn of the Screw’ last year). 

However, this is not only a tale of private revenge, but also one of the conflict between the individual and the state. Despite some of the most religious and virtuous women in the town being accused, no one will believe John Proctor or his easily swayed, hysterical servant, Mary Warren (Natalie Gavin) that the girls’ ‘fits’ are fraudulent pretence. The most distressing thing for me was that you could see the authority figures, like Deputy Governer Danforth (an excellent Jack Ellis) and Reverend John Hale (an equally brilliant \Adrian Schiller), genuinely thought they were doing God and the Law’s work; that they were being just and logical, even though they’d basically chucked logic out the window.

The cast overall are completely incredible. One of my favourites was William Gaunt as Giles Corey, the ‘old man’ who initially brings some comic relief, but later reveals himself to be smart, determined and indomitable.

Armitage himself was fantastic as the complex hero of the piece; brooding and troubles but genuinely shameful for his ‘lechery’ and truly loving of his wife and family. I loved the way Elizabeth had her hair hidden by a scarf for almost the whole piece, making her seem somewhat cold and less human, but that it was finally taken off at the very end; she both revealed her vulnerability and her humanity in her love and understanding for her husband. The other girls also wore headscarves which would fall off when they showed their personalities during fits of rage or ‘spiritualism’ – this was a really nice touch, and, I thought, suggested an uncontrollable animalistic nature hidden underneath society’s restraint. The ‘good’ women of the play never removed their scarves (excepting, of course, Elizabeth), as though they had entirely controlled this spirit inside themselves. The ending of the piece was poignant; Proctor could finally call himself a ‘good man’… but at a price. It was especially moving because it became clear the ‘authority figures’ didn’t really want to see anyone die, but couldn’t stop the course they themselves had set without losing face.
The girls in the ensemble also deserve special mentions; their supposed ‘fits’ could easily have slipped to the side of ridiculous, but they were instead deeply disturbing.

With sparse wooden furniture, menacing music and mist, the staging also contributed massively to the ominous atmosphere. I really like the whole ‘In-the-round’ thing the Old Vic’s got going on, even though, being high up, it didn’t have that big of an impact on me personally. All the different access points really make the action more dynamic, and Farber makes full use of every inch of the stage. This production is over three hours long (even longer than most Shakespeare!); the actors take their time on the stage, allowing us insight into their daily life, their rituals… The silent presence of actors helping to removing and adding furniture between scenes felt almost threatening at times, and also served the emphasise the isolation of a character once they all left. The lighting was clever too, placed below when it was an attic setting, above in the farmhouse, growing colder and warmer as the tension changed.

I think you can already tell, this is a fabulous production of a great play. Despite its length, I wasn’t bored for a second. One cannot help but be gripped by the uncontrollable chaos that sweeps the town of Salem and its residents. Both the acting and staging are superb, heightening the tension to an almost unbearable pitch, with the tragic ending leaving you wanting more. If you can possibly get tickets, I urge you to go! You will not be disappointed.

Larsenico

"title"


This was a very powerful production, I really enjoyed it and the audience seems to have enjoyed it too: there was a standing ovation at the end. I thought this was also because of the play, which shocks and disturbs, but credit goes of course to everyone who brought it alive. One small criticism, which is not only relevant to this play, is the over reliance on recorded music. This feels a bit awkward. The instrumentation used was quite stark, so I don't see the problem. I think musicians playing live would add much to the experience.

Chris H

Absolutely knocked out by this production, performances, lighting, music, direction, whole thing.  Richard Armitage is a powerful presence, he portrays the tangled complexity of Proctor.  Anna Madeley is Elizabeth Proctor.  You feel her deep pain.  Samantha Colley in her very first professional role clearly has a successful future in front of her.  I could go on ... every actor is exellent.  I saw it 2 weeks ago and I'm still reeling ... Do see it if you can.

Jane D

The play has been tightened up and is now 3.5 hours including intermission.  Best production I've seen in years and still gut-wrenchingly relevant.  Totally absorbing and the time passed in a blink.  Superb performances from the cast with Richard Armitage much more than a come-on factor; choreography, music, lighting all remarkable; a production to talk about.  Years later, people will say: Did you see Yael Farber's, The Crucible?  And you will feel sorry if you missed it.

C A

Three and a half hours never passed so quickly for me! What a wonderful production of this classic play! I was mesmerised from start to finish. Everything about this is top notch - casting, acting, direction, production design, music, everything. Hits you in the guts and leaves you stunned. I was blown away and have not been able to stop thinking about it since. Go if you love great theatre!

Y Y

Four hours to conclude that witch hunt is bad is just too much. It's not that the actors did not pour their hearts out. It's just that the flow was excruciatingly slow, killing any real excitement from the turns of the story.