At first, I want to say this is not a review in the usual sense of the word ... It's my impressions of the performance - impressions of an ordinary woman with a boring profession without special talents, just loving theater...
Now, after bringing some order in the chaotic thoughts and random pictures of impressions, I realize that I had a unique opportunity to see this unforgettable show from different sides - in a different state of the soul, from different angles and with different audiences. I've seen it three times, and each time in a different way. And each viewing added new experiences, which I will try to collect and share with you.
So, the first night!
Location: I was sitting in the center of the second row - so close to the stage, that I could see the actors' faces, their eyes, the slightest movement and changing in emotional tone.
State of mind: I was very excited, so I'd seen everything that was happening very vividly and sharply.
Feeling of the powerful energy captured from the first minute of scenic action. And its first message came from Greg Stone (Reverend Paris).
I like this actor very much, although, unfortunately, I saw him very little and only his on-screen work. But he immediately sunk into my soul with his radiant smile that illuminates the world, and incredible kindness that emanated from him, and his on-screen characters.
His stage persona - a weak man, frightened, depending on the opinion of others, and feared for his position in society. This fear was palpable physically, Stone's character was riddled with it and oozed it into the auditorium. And the beads of perspiration on Reverend Parris' temple were only emphasized his condition. Driven by this fear, he falls into the general hysteria, trying to stay on the top of it. And the actor brilliantly conveyed state of character development with a light comic spark, so in the end I even felt him (Paris) pity.
Paul Inglish played two characters - Putnam in the first act, and Judge Hathorne in the third and fourth. Both characters have turned out very bright. And if Inglish-Putnam brings a pomposity with a touch of stupidity, Inglish's famous glance from under the brows, coming from the judge Hathorne, just burns like frost on the skin.
Incomparable Julia Blake, as Rebecca Nurse, creates small but very remarkable role, as though she embodies the universal goodness and wisdom. And in the same time the fragility of the character created by actress makes you feel keenly, how helpless kindness can be in the face of mass hysteria and mob violence
Julia Blake is an amazing woman, the warmth, which she radiates, instantly reaches the soul. And she is talented in everything she does. And small poppets of the entire cast, knitted by her, are more eloquent than any words. She made them all, except John Proctor. I wonder why ...))
Reverend Hale, by Grant Cartwright, aroused sympathy. Cartwright's eyes reflected his character's sincere belief of what he does; I would even say that they shone out with child's naivety. And it was very interesting to watch how this naivety was replaced by frustration, pain, and despair! The actor managed to convey the way his character had passed through. He was very nice))!
John McTernan, who played Giles Corey - nice old man -, brought a humorous touch into the show. He managed to make the audience laugh even in the most dramatic moments when tears already approached my throat.
I liked the young actresses playing girls. They fit well into a brilliant ensemble cast. The vivid images of Mary Warren and Tituba were striking to me particularly, while an inner rottenness of Abigail immediately manifested itself on pretty face of actress, who played this character.
And finally! I'm turning to the sweetest part))))
John Proctor appears on the stage in a simple shirt with the sleeves rolled up. And his bare hands immediately attract attention. It seems that he just shook earth off his hands.
His hands were also involved in the performance, whether they were opened, turned to the life in the beginning, or hidden behind deflated sleeves under the weight of despair at the end.
Proctor at first just comes to know what is going on, never imagining how all this ends. Other matters occupied his thoughts - the farm, difficult relations with his wife and his own soul-searching.
Who said that David was wooden, monotonous and boring?! Let me tell you - in my humble opinion those fellows are completely blind!
A seething stream of passion is hidden under the puritan restraint! And this stream flows first, and then erupts on the audience through the eyes, hands, through the calm figure of David. An electric cloud grows around him and keeps the audience in tension!
And how he holds pauses!!! The auditorium freezes when Proctor silently stands in front of it, wrapped in his own thoughts, and voltage in the air is not weakened even for a moment!
The scenes with his wife - that's another story. A minimum of movements and physical demonstrations, but how much love! The deep feelings that do not require a passionate manifestations.
Pent-up emotions burst out in the third act, when Proctor confesses his sin in despair and drags Abigail along the floor, smearing ground over her face! David's scary sarcastic laugh and his "God is dead!" made hair stand on end! I had a lump in my throat and tears in my eyes, despite the fact that the actors were trying to defuse the passions by separate jokes!
And finally, the ending! Pathetic, frightened but funny Parris, desperate eyes of Hale, stubbornly unyielding Danforth! Just a harrowing scene with Proctor and his wife! And again minimum of movements, they only hold hands, but so much love!!!
And Proctor chooses life because he has forgiven himself, because he loves and is loved, because right now he wants to live! And how much pain appears in the eyes of David, when he realizes that he will have to abandon this given opportunity to live, because he cannot afford to defame his name. Pain, and at the same time calm, because the soul is pure...
Even now, when I'm writing this, recalling experiences, a lump in my throat rolls up again...
May readers forgive me, but I don't understand, how the persons, who saw the show, could write that David was "as authentic and engaging as his wig", that he had "dead eyes" ... What was they looking at???!!!
Probably at their reflections in the mirror!
May be they watched but definitely did NOT see! To put it more precisely, they saw only what they needed to maintain the interest to their own persons even with such dirty methods... By the way, in this regard they became like the same crowd, which in ancient times killed John Proctor, Rebecca Nurse, and other good innocent people, and represented an excellent illustration that the play is relevant today!
The second night.
Location: I was sitting on the fifth row, at a certain elevation from the scene.
State of mind: Yesterday's excitement gave way to the tranquility and objective reasonableness.
I was wondering how I'm going to perceive the same show for the second time in a row, whether my peace of mind and readiness to emotional shocks will catch me in the trap of detachment.
Far from it! My peace of mind vanished into thin air with David's first appearance!
And from my seat I suddenly saw not only the actors but the whole scene! The stage scenery is very laconic and simple - white background, framed by a black void.
But somehow, this simplicity created a peculiar atmosphere on the stage, special spatio-temporal sphere. As if there was a wormhole to the past! Actors appeared out of the black void, like from the depths of the ages, and came back into the darkness of the times, giving us at present, an opportunity to see some moments of life of their characters. The authenticity of costumes of that age only emphasized the sense of reality.
Music sounded before each act and made emotions more intense.
I was mesmerized.
And again I was involved in a dramatic performance and sympathized with heroes.
However, it seemed to me that on that day the auditorium was a bit chilly. And emotional intensity of acting was slightly muted by its cold reaction to what was happening on the stage.
The third night.
Location: The last row. Though I cherished faint hope that children's binocular, which we bought straight before this show, will save the situation!
State of mind: a fantastic mix of emotions! Sadness, quiet horror and excitement close to ecstasy! And this is only a small part of what was happening inside of me! It was the last performance, the last night in Melbourne and Australia at all. And ahead, there was absolutely amazing and incredible meeting with the leading actor!
(Is it necessary to add that I am in love with him?)
I thought I just can't watch the play, or rather can't see anything because of the excitement ... Ha-ha!!!
I drowned in it with my head! In my opinion, it was the best performance of the three I've seen!
I saw it all again with a completely different perspective. The whole auditorium lay in front of me, and that day it was very sensitive and responsive, reacting as a single whole on each movement of actors!
And the actors played very enthusiastically, sensing this.
And David! What he did!
He was in the limelight of the audience, bewitching them at a glance, he brought tension to the limit, and then let it go by one sentence, and everybody laughed. And deathly silence reigned when he fixed his gaze to the audience again - because Proctor was going to die!
Special thanks to the director. I have always admired this profession ... It's him, the director - a person who, having read the play, saw it all - the performance as a whole and each of its episode, the outline of the plot and each actor's individuality - and he embodied in the life what he'd seen, adding costumes and decorations!
What can I say ... I can only repeat the words spoken by my friend - a powerful production, stunning set design, great costumes, brilliant acting!
It was unforgettable show!!!
And while I was wiping away my own tears, I heard the sobs of a woman sitting next to me...
Hats off!
