The Crucible, a time of lost Honor In the play “The Crucible”, there was a vast amount of talent, not only in the final in the actors and actresses, but in all aspects of the productions, like in the directing, placing, scenery, the costumes, and lighting. The entire thing was breathtaking and a thought provoking dual reality; captivating the audience and giving them a slight glimpse through a window stage into the mellow dramatic life that is The Crucible. The actors and actresses were incredible; they made the play most enjoyable, every person played their part to the fullest extent and they were no person that was unneeded. Saying that, I must tell there were several talented people on the stage, the ones that were in full control of their entire situation, if they made a mistake I was unaware that they had. That is where the very convincing mood that kept throughout the whole play lied. It was very believable, and sometimes to the point where I had forgotten that the actors were doing it live. But this was only possible through the talent of all the people, and even though they had small parts, they made it the best and to its full potential. Each member stayed true to their respective roles, they knew there place and with that came harmony to the stage. I especially liked David, John Proctor, made an unbelievable performance, I forgot it was David and was completely convinced it was the hard-working farmer of Salem. I’ve never seen David act in a serious role and he blew me away with this one. He was concentrated on his emotions but still kept the illusion of reality, his movement was planned out before hand but he let the real John Proctor live out this ordeal as if that was all he knew. Another person I thought was incredible, besides the main role character…original right? Was Judge Danforth, it may be the fact that a teacher played this role, or that his age gave him an advantage to make that authority figure fit him so well. But it really stuck in my mind, his way of moving and the way he held himself on the stage, gave me the real feeling of a judge that only wanted the truth in the complicated matter. In those scenes, I’m not saying the other actors were less important; he carried it well and helped it flow through. I also liked the singing girls, the melodies were very haunting, and when they emerged out into the lobby, not making eye contact or any recognition to the people around them, they sang that mind echoing song, and created a mood that was hard to forget. It all flowed together so well, and that mayhap was the key to its success. The direction was also a great part of the production, the lighting, scenery, and placing. Diction not so much, but it may have been that way because of my own placing off the seats close to the corner. But it all seems to be unified into one great object of representation and creative outlook on the dark times of the witch trials. In many scenes there was obvious intervention, such as the trial when the seats of all the girls were move by a passing character to compensate the curtains. And they are later moved back behind the curtains to have them close. It was not very obvious when I first saw the play, but it did seem quite odd in its own way. Another was the singing transitions; they really carried it over to the other scene and even placed a wording that set up the set up the feel of things. The ominous melody that was conceived out of bounds from the original screenplay was almost the seams that held the acts together in one great tapestry. It reminds me of the balance in all aspects in life, of how a director makes a play, the flow, there must be a small crack to make a creative leap, this is what flow is, a unity of that life you describe on the stage. I do remember the lobby, the small details and items that represents the times and actions of the old ways. I very much liked the wizards and witches for the bathrooms, it was a nice touch.