The Crucible
Based on Arthur Miller's allegorical play set in Salem Massachusetts in 1692 this powerful adaptation portrays the disintegration of a society once superstition and the power of organised religion are exploited to settle scores for personal gain and even survival.
Reviews:
It’s all brilliantly realised by the company, and supported by a shattering score by the aptly named Peter Salem. With great skill he matches sound to action: a great clatter of drums for Proctor’s unleashed passion; a whomp of violins for the wild and whirring Walpurgis night dances in the woods; screeches of strings as people meet their fate.
Much atmosphere also comes from the pools of moody lighting (David Finn), but the most striking non-dance element is Peter Salem’s score – played live by the Scottish Ballet orchestra and reinforced with found sounds – a bird flapping (a raven one fancies), a tolling bell and some electronic oppressive darkness. It’s deeply layered and is very tightly integrated into the work – at times the sounds and stage action sync to millisecond accuracy which adds breath-taking punch to what you see. It’s no surprise to learn that Salem first did a soundtrack to a National Theatre version of The Crucible back in 1990 – he is steeped in the plot, and it shows/hears.
Photos: Jane Hobson