Miller’s The Crucible is one of those plays that I have always thought rather like theatrical medicine; good for you, but worthy rather than enjoyable. I knew that this exploration of the hysteria and totalitarianism that befell the Massachusetts town of Salem was meant to illustrate the Communist witch hunts in the US in the 1950s, but it took this production to remind me of the relevance that it also has for today, as we see misguided application of religious fervour renewed throughout the world.

It is lengthy; three and a half hours with interval. However, the time flew by for me. The production, done in the round, uses modern dance to illustrate the mania affected by (or affecting, who can tell) the adolescent girls involved in the spotting of the “witchcraft.” The opening sequence, in which the slave Tituba (beautifully played by Sarah Niles)  regresses from beginning as a woman to ending the sequence on all fours, is tremendously emotional.

There is not a weak link in the cast. From Samantha Colley, who humanises Abigail Williams beautifully (and reminds us that Proctor is not blameless in their affair; he had a choice in the matter and was the adult in the situation) to William Gaunt’s dauntless Giles Corey to Adrian Schiller’s moral Rev. John Hale, they all seem utterly at home in their parts and in the time frame.

Elizabeth Proctor is often a thankless role, and it can often be difficult to keep from crossing the line of self-righteousness and losing the audience’s sympathy entirely. But Anna Madeley is stunning, she has her own dignity and her own pride, and she makes us feel every line she utters. Michael Thomas as Rev. Parris is similarly well-acted, as his initial dislike of Proctor, pride and desire to avoid humiliation mean that he sets in motion a scenario he cannot control. Thomas lets us see every emotion as he realises that he has completely lost control of the situation and that true evil is being done here.

Richard Armitage is, I fear, too good-looking for the role of John Proctor. We certainly understand Abigail’s desire to retain his affections. However, he slashes into the part with furious intensity and we believe every word he utters. Only his Christian faith seemed somewhat lacking for me. But I wholeheartedly believed his desire to amend his wrong to Elizabeth and to retain his name, and not a breath was drawn during the final scenes.

A final note: this production excelled at demonstrating the utter savagery that can take hold of adolescent girls. Lacking the maturity for compassion, with hormones taking hold at every turn, they are capable of true horror. It is good to see this reality, lacking sentimentality, portrayed on stage.

This production is a stunner; do go and see it. Just figure out a pub with a late license to go to afterwards, as you won’t be out before closing time.