Decorated World War II veteran Robert Ward won Arthur Miller's approval to transform his historical play, "The Crucible," into an opera, which debuted in 1961 at New York City Opera. The four-act work won the Pulitzer Prize for music the next year and has since been produced with modest regularity. This is the first season it has been part of the Glimmerglass Opera Festival, where it is a haunting success.
Francesca Zambello, artistic and general director, demonstrates her talent for conveying the social relevance of the arts and her passion for precision in this all-new production. Under Zambello's direction, the artists convey every nuance of Miller's allegory that draws on the 1662-63 madness in Colonial Massachusetts to expose the evils of 1950s McCarthyism.
"The mass hysteria that culminated in the Salem Witch Trials was not an aberration," Zambello says. "Throughout history we have seen how, in a climate of fear and mistrust, innuendo can take on the force of fact, resulting in the persecution of innocent people."
Opening with a vaporous, monochromatic forest scene in which nightgown-clad girls dance and chant around a bonfire, the scene shifts magically to the Rev. Samuel Parris (Frederick Ballentine) kneeling at the bedside of his catatonic daughter, Betty (Mary Beth Nelson). Here the turmoil begins, but it is not until Act II that the backstory of John Proctor's infidelity, central to the narrative, is revealed.
Brian Mulligan persuasively enacts the repentant husband, singing of the wonders of springtime on the farm as he tries to nudge his wife, Elizabeth, from her gloom and self-blame. He begs her to forgive his laps with their servant girl, Abigail (magnificently intense Ariana Wehr), but the three are inexorably entangled on a path that ultimately leads to the gallows. Mulligan's sturdy baritone and fine acting in this pivotal role combine for an exceptional portrayal of a man who ultimately upholds the value of his name--for his sons' sake--and chooses death over a cowardly life.
Like every hero, Proctor is solitary in his resolve to choose right over wrong, a choice that is conveyed with stunning staging early in Act III. After refusing Abigail's plea to join her in love and in cleansing the town of Devil worshippers, he stands with his back to the audience in what seems like a vast emptiness before he turns and strides off to court. There, he forces his servant girl, terrified and conflicted Mary Warren (soprano Maren Weinberger), to testify to the deceptiveness of the entire witch hunt, a bold act that will result in his being revealed as a lecher.
Imbuing Elizabeth Proctor with both staunchness and fragility falls to mezzo-soprano Jamie Barton, whose marvelous timbre and expressive delivery never falter. Despite the calamity that will result for her family, she begs John to stop the madness by revealing his relationship with Abigail, who is fomenting the frenzy of accusations and hangings.
Jay Hunter Morris, artist in residence, plays Judge Danforth, fervent in his belief that he is ordained by God to wreak justice upon individuals who refuse to refute charges of Devil worship brought against them. Reverend Hale, advocate for mercy, is played by David Pittsinger.
The slave Tituba, who tells the truth about her influence upon the girls of the community and refuses to refute her charges, is sung by Zoie Reams who, like many of the 18-member cast, is part of the Young Artists Program at Glimmerglass. They are selected for their talent and promise and represent a diverse international group of rising stars.
Scenery design by Neil Patel--tree limbs and a block structure prevailing--draws the audience back to 17th century simplicity, where anguished individuals could be puppets in a driving debacle of falsehoods. Earth-tone, time-appropriate costuming by Jessica Jahn add authenticity.
Like all Glimmerglass productions, this one is elevated by the amazing orchestra, in this case playing Ward's flaming score, which is influenced by folk songs, hymn tunes and jazz rhythms, under the thrilling direction of Nicole Paiement. The music propels the action on stage with intensity, driving the tension of the scary tale to the final chilling scene. There stand John and Elizabeth, two thoroughly normal, stalwart human beings, ready to be hanged in the nooses that dangle before them.
Ward and Stambler's opera adheres closely to the original play, which means there is a lot to comprehend and many characters to follow. By straight-forward staging and scrupulous attention to language, Zambello provides the audience with an unforgettable version of Miller's cautionary tale.
THE DETAILS:
What: Robert Ward and Bernard Stambler's "The Crucible," in English with English projections.
Where: Alice Busch Opera Theatre, 7300 State Highway 80, Cooperstown, N.Y.
Performance: Reviewed July 31, runs in repertory through Aug. 26.
Running Time: 2 hours, 20 minutes with one intermission.
Complete Season: Online at www.glimmerglass.org
Tickets: www.glimmerglass.org or call 607-547-2255.
Prices: Start at $26.
Parking: Free in nearby lots.
Meals: Picnic on the grounds or purchase food and beverages.
