‘John Proctor Is the Villain’ Review: Sadie Sink Makes an Exciting Broadway Return in a Sharp and Funny Re-Interpretation of ‘The Crucible’

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The skillful writing of Kimberly Belflower and the direction by Danya Tamor in John Proctor Is the Villain make it feel as if the 105-minute, continuous performance passes by effortlessly.

The current Broadway production tells the story of a handful of young women at Helen County High School in northeastern Georgia, who establish a feminist group during the peak of the #MeToo movement. Initially, their efforts are met with apprehension from anonymous townsfolk fearing the club might drive away boys. However, these girls argue that boys should and indeed could join them, as fostering open dialogue between genders would help find shared ground. Beth (played admirably by Fina Strazza), a high-strung yet benevolent member, explains this viewpoint, stating, “That’s essentially the purpose of our club – to achieve common ground and that’s why it’s crucial.

Fortunately for these teenagers, they find themselves in a fortunate turn of events when their cherished English teacher, Mr. Smith (Gabriel Ebert), intercepts a heated argument and negotiates an arrangement with guidance counselor Miss Gallagher (Molly Griggs). He offers to assume the role of faculty advisor for their club, provided they connect their curriculum reading – Arthur Miller’s The Crucible – with their agenda. In exchange, their organization proposal will be granted approval. The students eagerly accept these conditions without a second thought, even though it means Mason (played by Nihar Duvvuri), a struggling junior in English class, must participate as well for extra credit. It’s the year 2018, and the recent flood of news regarding accused men and their victims has prompted these young adults to search for a secure environment where they can discuss substantial questions and complicated emotions.

However, the girls are unaware of the significant role the feminist club will play in their lives during the spring semester, as a string of unsettling incidents jeopardize their stability. The story unfolds with the return of Shelby Holcomb (Sadie Sink), a member of their circle who unexpectedly left school for three months following an intimate encounter with her best friend’s boyfriend. The mystery surrounding her whereabouts deepens when she reappears on campus, sparking gossip among the students. Raelynn (played admirably by Amalia Yoo), the daughter of a minister, struggles to cope with Shelby’s return; she remains resentful towards Shelby for betraying Lee (portrayed convincingly by Hagan Oliveras).

Simultaneously, Maggie Kuntz, another member of our circle, is dealing with the troubling revelation that her father stands accused of sexual harassment by one of his employees. This allegation has sparked intense debate and division within this small town characterized by a single traffic light, even among members of the local feminist group.

As a gamer diving into this intriguing tale, I find myself surrounded by a group of friends, among them the newcomer Nell, who’s got a knack for making us laugh with her wit. We’re immersed in reading ‘The Crucible’, setting our minds ablaze for our final projects. The challenge? Bringing characters that never interact on stage into dialogue.

As we delve deeper into Arthur Miller’s work, questions start to swirl around John Proctor, a man whose reputation precedes him – a man who arguably shaped not only Elizabeth’s life but also Abigail’s destiny in ways we find hard to justify. His revered status becomes a puzzle that captivates us, a riddle we yearn to solve. Our reinterpretation of the Salem witch trials story serves as a lens through which we examine our own lives more closely.

Knowledge of Miller’s work, penned as a reaction to McCarthyism, is not mandatory for John Proctor Is the Villain. Instead, Belflower structures her play around an English class setting, embedding all essential plot points within Mr. Smith’s lessons and student interactions.

In its initial staging at Studio Theatre in Washington D.C., “John Proctor Is the Villain” was directed by Marti Lyons. However, Julie Taymor, who recently won a Tony for directing “The Outsiders”, now takes charge of this adaptation. Taymor’s direction is both agile and emotionally grounded, never losing sight of the play’s powerful core. She collaborates with Amp, whom she previously worked with on “The Outsides”, and Teresa L. Williams to create an immersive set that enhances the play’s intimacy. The entire action in “John Proctor Is the Villain” unfolds within Mr. Smith’s classroom, adorned with Georgia Bulldogs memorabilia, a student couch facing the window, and motivational posters. A wall showcases the state’s most renowned authors alongside writing advice. The metal desks, plastic chairs, and linoleum flooring mimic those found in schools nationwide.

The girls’ chats are a lively tango of subjects, ranging from school news, local events, popular culture, and personal worries. They talk as fast as an internet feed scrolls, but this speed doesn’t diminish the depth of their discussions. On the contrary, it creates space for disclosures – about their concerns, their choices, and their dreams. A charming closeness develops, and the importance of these friendships becomes more apparent.

Audience members are likely to be attracted to the play “John Proctor Is the Villain ” by Sink, who gained recognition through her role in Stranger Things and more recently starred in Searchlight’s musical drama “O’Dessa“. Although the actress delivers a solid performance, portraying her character’s blend of teenage turmoil and hidden emotional pain, her acting is enhanced by the performances of the other women in the cast.

On her initial, clumsy entrance into Mr. Smith’s classroom on her return to school, the viewers are already anticipating Shelby’s arrival. Following their heated altercation with Miss Gallagher, Ivy, Nell, Beth, and Raelynn begin organizing their inaugural feminist club gathering. A conversation about Twilight, a favorite of Raelynn’s, and Taylor Swift, who Beth is infatuated with, gradually shifts into a gossip fest where the other girls fill Nell in on the latest drama. As questions about Raelynn’s status with Lee transition into queries about her relationship with Shelby, her hesitant evasions grow more pointed. In these early scenes, Yoo skillfully reveals Raelynn’s vulnerability through sad expressions and a subtle physicality, making her eventual empowerment even more gratifying to observe.

In the play “John Proctor Is the Villain,” Belflower crafts a deeply emotional narrative centered around girlhood and strong friendships among the characters. As Shelby navigates her way through a new semester, she rekindles relationships, particularly with Raelynn, and reveals more about her past reasons for leaving school. While there are instances where the flow seems to slow, the tension builds steadily towards the plot twist. Without an intermission, the play maintains its breathless pace, ensuring that the final revelation hits hard, causing a palpable gasp from the audience when I attended the show.

It’s quite coincidental that “John Proctor Is the Villain” is being staged concurrently with “All Nighter” (off-Broadway) and shortly following “Nina” (off off-Broadway), all of which delve into the personal narratives and private discourses of young women. In a similar vein, “John Proctor Is the Villain” gives due consideration to its characters’ issues, much like the girls in these plays scrutinize Taylor Swift and Lorde’s lyrics (who play pivotal roles in this production) with equal fervor and meticulousness as they analyze “The Crucible.” These pop culture icons, whose music resonates deeply with the experiences of growing up, enable these teenagers to identify with the women in Miller’s text and even contemplate why John Proctor was ever considered a hero.

Location: Booth Theatre, New York City
Actors: Sadie Sink, Nihar Duvvuri, Gabriel Ebert, Molly Griggs, Maggie Juntz, Hagan Oliveras, Morgan Scott, Fina Strazza, Amalia Yoo
Director: Danya Taymor
Playwrights: Kimberly Belflower
Set design: Amp and Teresa L. Williams
Costume design: Sarah Laux
Lighting design: Natasha Katz
Sound design: Palmer Heffernan
Projection design: Hannah Wasileski
Choreography: Tilly Evans-Krueger
Production by: Sue Wagner, John Johnson, John Mara Jr., Runyonland, Eric Falkstein, Jillian Robbins, Jen Hoguet, Rialto Productions, Corets Gough Kench Cohen, The Shubert Organization, James L. Nederlander, John Gore Organization, Patty Baker, Cue to Cue Productions, Echo Lake Entertainment, Harris Rubin Productions, Klausner & Zell, Jennifer Kroman, Mickey Liddell & Pete Shilaimon, Mahnster Productions, Nathan Winoto, The Cohn Sisters & Stifelman-Burkhardt, Astro Lab Productions, Creative Partners Productions, Sarah Daniels, Joan Rechnitz, Melissa Chamberlain & Michael McCartney, Pam Hurst-Della Pietra & Steven Della Pietra, Newport & Smerigan, Jamie deRoy, Jaime Gleicher, Wes Grantom, Meena Harris & Jessica Foung, LAMF, Corey Steinfast, Turchin Clements, Louis Hobson, Annaleise Loxton
(The play will be presented by a collective of producers)

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2025-04-15 06:25