“The Crucible”

Directed by Timothy Douglas

O’Reilly Theater

Through July 29

“The Crucible”

Directed by Timothy Douglas

O’Reilly Theater

Through July 29

It is a difficult test of any company’s skill to produce “The Crucible,” Arthur Miller’s classic play that is as famous for its length as for its thinly veiled references to the Communist witch hunt of the 1950s.

The Pittsburgh Public Theater’s Young Company, a group mostly comprised of college and graduate students, has taken on the challenge and their production demonstrates the difficulties of the play as well as its ultimate rewards.

Written in 1953, Miller’s work is a treatise against the abuse of morality to further personal power. Set in Salem, Mass., during the 1692 witch trials, “The Crucible” frames the hysteria of the incident around the aftermath of an affair between a farmer, John Proctor (Chris Cardenas), and the local Reverend’s niece, Abigail Williams (Kelly Trumbull). While the basic facts of the witch trials are known to anyone who has taken American history, Miller brings the horror and irrationality of the event to life through his characters.

Trumbull’s Abigail and her fellow girlfriend conspirators perfectly capture the adolescent desire for attention and the talent for manipulation that made high school (and the movie “Heathers”) so memorable.

Jonny Petersen as the priggish Reverend Parris, so desperate for control and respect of his parish, and guest actor David Nevell’s Deputy Governor Danforth, whose justice is only blind to reason, are convincing adult parallels to the scheming girls.

However, the standout here is Cardenas as Proctor, the farmer who refuses to compromise his morals at any point and so pays the price. Cardenas keeps Proctor honest without becoming righteous, and delivers lines that could easily be over the top with a resigned air, making a quieter but more profound impact on the audience.

Cardenas has such a presence on the stage that it is easy to ignore the few flaws of this production. While Petersen’s Reverend Parris has the right air of haughty indignation, he seems awkward moving about the stage. Indeed, much of the blocking seems choppy and mechanical. This is key, because with the scenes of the play running so long, and with tension building rather subtly through the first act, the movements of the actors are crucial to keeping the audience’s attention.

Andrea Shockling’s set is sparse, as are Janice Zeller’s costumes, which provide a rather timeless feel, but don’t succeed on all counts. There is no support when scenes begin to drag, and no visual cues to grab the audience’s attention.

In powerful contrast to this minimalism is the music provided by sound designer Zach Moore, richly sad gospel songs that emphasize the isolation and loneliness that are the result of the witch trials.

“The Crucible,” a play with a powerful message, heady tension and many words, is a potent mixture of theater and history, and a must-see for any theater-goer. The Young Company’s production, while not always riveting, is a commendable one, and a worthwhile way to spend a summer evening.