John Proctor is the Villain Review: A Fantastically Cathartic MeToo-Era Riff on Arthur Miller's The Crucible
Kimberley Belflower's acclaimed play, John Proctor is the Villain, has made its highly anticipated UK premiere at London's Royal Court Theatre, delivering rousing and timely results. This production, directed by Danya Taymor, deconstructs Arthur Miller's classic witch-trial drama, The Crucible, by transposing its themes into a contemporary American high school setting during the peak of the #MeToo movement in 2018.
Setting the Scene: A Small Town in Georgia
Belflower skillfully establishes the tight boundary lines of her setting: a "one stoplight town" in Georgia, where reputation and conformity reign supreme. In this eleventh-grade classroom, students chant dictionary definitions of "sex" and "abstinence" in unison, akin to reciting a prayer. The arrival of Nell, a more worldly new friend from Atlanta, inspires the blushingly earnest Beth to start a feminist society, which the school administration views as a direct threat.
The Role of the Teacher and Uncontainable Ideas
Their young English Literature teacher, Carter Smith, intervenes by reframing the group as a literary feminist discussion group that includes boys, aimed at expanding their classroom discussions of The Crucible. However, the danger of new ideas cannot be easily contained. Like The Crucible, Belflower's play demonstrates how quickly such concepts can contaminate a small, contained environment, spreading rapidly and uncontrollably.
Character Dynamics and Performances
The production features compelling performances that bring depth to the narrative. As nerdy Beth, Holly Howden Gilchrist portrays a character experiencing a controlled internal explosion whenever her feelings for her teacher are hinted at. Miya James adds satisfying depth to Raelynn, who gradually realises her desire to break free from a controlling boyfriend. The arrival of Shelby, played by Sadie Soverall, provides a caustic and lethal energy, akin to an illicit swig of antifreeze at a church social, as she pours out her truth while her friends look on in horror and concealed admiration.
Thematic Resonance and Contemporary Relevance
Staged differently, this play could be a tragedy, depicting idealistic and intellectually curious girls being stomped down by a Christian patriarchal system. However, Taymor's breezy and joyful production infuses the narrative with teasing love for this awkward crew of friends. The play serves as a powerful commentary on the millions of small, hidden dramas that erupted in the wake of #MeToo, offering a frenzied, Lorde-fuelled dancefloor climax as a perfect outlet for those reflecting on forgotten issues amidst a world of deadening silence.
Conclusion: A Must-See Theatrical Experience
John Proctor is the Villain runs at the Royal Court Theatre until 25 April, providing audiences with a thought-provoking and emotionally resonant exploration of feminism, conformity, and the enduring impact of historical narratives in modern contexts.
