The Crucible review: an enchanting night at London’s most magical theatre
22 May 2025, 17:35
I’ve seen many productions at Shakespeare’s Globe over the years, but The Crucible might just be the most surprising.
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Written in the 1950s, it’s considered modern for the Globe – yet it translates astonishingly well to 2025.
Arthur Miller’s tale of the Salem witch trials is chilling, yes – but also ridiculous. The idea that a group of teenage girls could whip up mass hysteria with accusations of witchcraft feels absurd. And that’s the point.
The madness of it all makes you laugh, then you remember people really died. Thankfully, it’s almost impossible to imagine something like this happening today.
What sets this production apart is how cleverly it uses the space. The actors perform across the wide wooden stage, move among the audience in the yard, and even appear in a tiny window high above the set – waiting to discover their fate.
The casting is strong throughout. But what really impressed me was the choice to use regional British accents. Too often, productions like this rely on awkward attempts at 1600s American speech. Here, the use of Scouse, Yorkshire and other local tones felt natural – and helped ground the story’s themes of division and paranoia.
It’s not all doom and gloom either. There are moments of humour, real intrigue and – crucially – plenty of jeopardy. As the tension rises, you can feel the audience tightening with it.
The entire ensemble feels tightly knit – there’s a real sense of community unraveling in front of us.
The young women at the heart of the accusations are played with just the right mix of fear and ferocity.
At one point, a helicopter buzzed overhead. Then a plane. A reminder that we’re in London, and a world away from the dark frenzy of 17th-century Salem. We may have our problems – but at least we’ve moved on from burning witches.
A thrilling, intelligent and deeply human production.
The Crucible runs at the Shakespeare’s Globe until 12th July.