The play is called “The Good John Proctor,” so where is John Proctor? Talene Monahon’s original screenplay serves as a prequel to Arthur Miller’s “The Crucible,” told from the point of view of the four girls whose accusations set off the Salem Witch Trials.
Directed by Terra Vandergaw, “The Good John Proctor” is the latest show put on by Ramapo’s theater department.
“The Good John Proctor” introduces a new Abigail Williams. Unlike in the Miller play, which portrays Abigail as a 17-year-old seductress, this adaptation ages her down to 12 — the age the historical Abigail Williams was in 1691, the year before the trials began.
This Abigail, played by Julia Rowan, displays signs of gender dysphoria. She works in the field — a boy’s job — plays pretend as king and goes without a smock, a common undergarment for girls at the time.
Whereas in “The Crucible” Abigail was a villain, the Monahon Abigail is a victim. She does not lust over John Proctor, she idolizes him.
The character of Mercy, played by Julie Mayer, speaks in twenty-first century vernacular, but upholds the Christian and patriarchal systems of power which were in place in this era. While her often drunken commentary provides much comedic relief, it reminds the audience of the misogynistic and oppressive world the girls live in.
Mary Warren, played by Allie Mendicino, is only 18 and unwed, but is considered a spinster by this society. Through her friendship with nine-year-old Betty, played by Soobin Lee, she destigmatizes the woods, which are condemned for being the site of the “wickedness” of which Mercy and Betty so often speak.
The play’s anachronistic style is infused into the design of the show. The beautiful set, designed by Jack Golden, is modern and minimalist, providing the suggestion of the time period rather than a literal recreation. This is juxtaposed by the period-accurate bodices and bonnets that costume designer Austin Blake Conlee fit the actors in.
The high-contrast lighting and subtle cricket sounds — lighting and sound designed by Golden and Nicholas Bates, respectively — immediately set the mood, creating nostalgia for those terrifying nights where a branch softly taps against the window or casts a shadow in the moonlight, scaring a child’s overactive mind.
The show peaks with Mayer’s comedic performance as the alcoholic Mercy, and with committed and impressive physical performances by Lee, Mendicino and Rowan as they convulse from “witchcraft” in the show’s climax.
In speaking with the actors, they told stories of how they got into character to play children and young teens from three centuries ago. A story that stands out is when director Vandergaw led the actors into the woods so they could get a feel for the liberation the Salem girls felt when they finally broke free from society among the trees. The actors danced and led each other around with scarves, then drew their interpretations of their characters in the woods.
The dedication and hard work put in by the actors, production and creative team is very evident in the performances, which capture Monahon’s play beautifully.
fcorona1@ramapo.edu
Featured photo by Sam Servillo
