Review: THE CRUCIBLE, Gielgud Theatre

Photo credit: Brinkhoff-Moegenburg

In what has become a growing trend of limited run West End transfers, it’s now the turn of The Crucible to move from the National to the Gielgud’s West End stage and while this production received mixed reviews south of the river, does a smaller, more intimate house iron out these creases or were we still left wanting more?

Revivals are always going to be either working with or against the weight of the material’s legacy and the productions that have come before it. Audiences will always be coming into the theatre with a pre-conceived idea of what to expect from this. And revivals that really shine are ones that are aware of this legacy but go in different directions - that re-contextualise a piece to make newer points, allowing old material to become relevant in today's landscape and justifying the reason for bringing it back to the stage. It’s our opinion that The Crucible doesn’t quite achieve this…

The production is staged pretty much as it would have been when first written. In its presentation, the show is incredibly classical. There are no fancy tricks or large set-pieces, just the performances delivered in a grounded and naturalistic fashion. Of course, this works for many a piece of theatre but here, at a running time of nearly three hours, we found it to have not done enough to hold our attention or justify its place on stage in 2023.

The catch is though, and what is most frustrating, is that there are good moments where points that are being made are incredibly relevant; the corruption of the justice system, women’s suffering and the origins of misogyny. The script has so much potential for an explosive revival full of heated emotion and political charge, especially the court scenes in Act 2, yet the staging lacks a true emphasis on these moments of the show and couldn’t stick the landing or leave a lasting impact. As such, we were instead lost in the text like needles in a haystack.

One thing that is clear above all else though is that (relative) newcomer Milly Alcock (making her theatre debut here) has an incredible future ahead of her. Her presence onstage is magnetic and her passion for character is evident. We eagerly await whatever roles she may take on in the future. Joining this production for the first time at the Gielgud, Alcock acts as if to live and breathe this story with utter emotional commitment, with the unique ability to display every thought of her character’s via micro expressions visible even to those in the back rows of the balcony.

The set is also a proud work of art, and one making waves in the theatre community (yes, pun intended!) as the rain curtain has featured in countless social media posts. Though the curtain does indeed serve purpose, not during the show, but as a reminder that we are entering a separate world. Onto which Tim Lutkin’s lighting design can paint simple yet effective portraits that fade softly over the proceedings as a sunrise or sunset would in Salem.

While certain aspects of this show ring true, it’s a shame that the production as a whole lacks enough emphasis on these to create a whole show worth revisiting. It’s one we are glad to have seen and will still sit with us yet there is definitely more untapped potential in the source material for the creative team to uncover here.

*** Three stars

Reviewed by: Callum Wallace

The Crucible plays at the Gielgud Theatre until 2 September, with tickets available here.