Scottish Ballet’s production of Helen Pickett’s “The Crucible.” Photo by Andy Ross.
When we think of story ballets performed by classical companies, images of princesses, dancing swans, and castles hosting balls come to mind. Not so for The Scottish Ballet’s opening night performance of “The Crucible,” a striking and emotionally charged rendition of Arthur Miller’s iconic play at the Kennedy Center’s Eisenhower Theatre. Choreographed by the visionary Helen Pickett, this ballet adaptation blends the power of dance with the haunting narrative of the Salem Witch trials, creating an unforgettable evening of artistry and theatricality.
…an unforgettable evening of artistry and theatricality…a thought-provoking and emotionally charged performance that left a lasting impression.
From the moment the curtains rose, the stage was transformed into a bleak and foreboding landscape. The ominous set, combined with the atmospheric lighting by David Finn, established a palpable sense of tension, mirroring the gripping storyline that unfolded before our eyes. I loved the lights dimming to cast scary shadows on the back scrim.
Pickett’s choreography was a masterful interpretation of the complex themes and characters from Miller’s play. The dancers of the Scottish Ballet embraced the challenging movements with aplomb, showcasing their technical prowess and expressive range. Here was modern dance at its best with Martha Graham contractions to show agony, and arm reaches to the heavens, reminding this writer of Graham’s “Appalachian Spring” or even Alvin Ailey’s “Revelations.” Each step and gesture seemed to convey the Scottish Ballet’s blend of contemporary and classical ballet—not expected from this company once with the regal title of The Royal Scottish Ballet.
In 1692 the Massachusetts village of Salem, a small tight-knit and devout community, was gripped by a hysteria that the devil was living in their midst. Neighbor turned on neighbor and friends and family members testified against each other as rumors of bewitchment spread though the community after two girls suffered fits.
“The Crucible” had its world premiere in August 2019 at the famed Edinburgh International Festival. Now Washington audiences have a chance to see the production’s east coast premiere as Arthur Miller’s classic play about the Salem witch trials celebrates its 70th anniversary.
Helen Pickett’s powerful choreography and Peter Salem’s haunting score unleash the emotional force of Miller’s masterpiece. It was specifically chosen for the more intimate Eisenhower Theater to maximize the unique atmospheric and visceral aspects of the production. The audience is on the on the edge of its seats as a tight-knit Salem society unravels into chaos, asking: when everything is at stake, what price are you prepared to pay for the truth? Miller’s play was a wake-up call during the House Un-American hearings, and now we might be seeing police brutality issues in the ballet. Dancing makes a powerful message.
In the role of John Proctor, Evan Loudon displayed an exceptional blend of strength and vulnerability. His commanding presence and emotional depth were truly captivating, portraying the tormented protagonist with raw intensity. The chemistry between him and the equally talented Marge Hendrick as Elizabeth Proctor was touching with their pas de deux evoking a poignant mix of longing, remorse, and forgiveness. At one point during the witchcraft trial, John stood perfectly still, just watching, while the company dancers ran this way and that, and Abigail (Claire Souet) screamed with other young girls accused of being witches.
The ensemble cast of dancers expertly brought the supporting characters to life, seamlessly shifting between moments of collective hysteria and individual despair. The group sequences were particularly impressive as the dancers moved in perfect unison, creating mesmerizing patterns and evoking a sense of communal frenzy.
The haunting score, composed by Peter Salem, added another layer of depth to the production. Its eerie melodies and dissonant harmonies perfectly complemented the dark atmosphere, heightening the emotional impact of each scene. The Scottish Ballet’s collaboration with the Kennedy Center Opera House Orchestra resulted in a seamless fusion of music and movement, enhancing the overall theatrical experience.
In this production of “Crucible,” the Scottish Ballet proved once again their ability to push boundaries and challenge the traditional notions of ballet. By delving into the depths of human nature and exploring themes of persecution and morality, they delivered a thought-provoking and emotionally charged performance that left a lasting impression.
The Scottish Ballet’s “Crucible” at the Kennedy Center was a stunning and powerful ballet adaptation. Helen Pickett’s choreography, combined with the exceptional performances by the dancers, created a truly immersive experience that captured the essence of Arthur Miller’s timeless play. This production showcased the Scottish Ballet’s artistic vision and their commitment to pushing the boundaries of classical ballet.
Running time: One hour and 45 minutes with a 20-minute intermission.
Advisory: Recommended for audiences 12+.
“The Crucible” runs through May 28, 2023 presented by the Scottish Ballet at The Kennedy Center’s Eisenhower Theatre, 700 F St. NW, Washington, DC 20566. For more information and tickets, call (202) 467-4600 or go online. Next up is The New York City Ballet, starting Tuesday, June 6, 2023, with contemporary works by founder George Balanchine, Jerome Robbins, and newly hired Alex Ratmansky, who adds much needed humor to his ballets. Check kennedy-center.org for details on extra programs, rehearsals, and classes with company dancers.
