ANDERSON, Ind. —
“The Crucible” is ripe for operatic flair with its tale of witchery, adultery and jealousy.
But so familiar is the story of the 1692 Salem witch trials, and its allegory to 1950s’ McCarthyism, that it requires a special ensemble to distinguish each new rendition.
In the hands of Anderson University students and director Laurel Goetzinger, the 1962 winner for Pulitzer Prize of Music is a tour de force rich with expressive acting and confident voices.
As the opera begins, much of the troublesome acts that will plague the characters have already occurred. Town girls have danced naked in the woods, but they accuse a local slave, Tituba, of being the witch who cast them into a spell. One of the girls, Abigail Williams, and the married John Proctor have had an affair. Williams, jealous of Proctor’s wife, Elizabeth, accuses her publicly of being a witch. During a trial, Proctor refuses to lie to save his own skin.
The climate of fear is taut in this production, made more poignant by an often nicely-understated orchestra conducted by Fritz Robertson. Along with their clarifying instrumental work, the musicians capture the pauses leading to explosive moments on stage.
“The Crucible’s” acting hub revolves around John Proctor’s sincerity and Abigail Williams’ treachery.
As Proctor, H. Frank Ebels is as close to a revelatory performance as has been seen on the Boze Lyric Theatre stage. His distinct baritone is made more expressive through his penetrating eyes and vein-popping intensity.
As Williams, soprano Kayla Shoemaker captures the range of her character’s jealousy and delusion.
As Tituba, let’s welcome contralto Dwandra Lampkin to the AU stage. Lampkin, an assistant professor of theater at Ball State University, is exquisite with her hand gestures and body movements in portraying her rapture-filled character. By the way, Lampkin’s TV credits include “Law and Order,” “Third Watch,” “Law and Order: SVU” and “Wonderland.” She has also written a new one-woman show titled, “The Conviction of Lady Lorraine.”
Kelsi Johnson as Elizabeth Proctor and Jennie Fights as Mary Warren round out the major roles with extreme confidence.
Christian McKinney‘s stage design should also be noted for setting a somber tone. The set is inside an A-frame (A for adultery, perhaps?) structure. Hanging in the background are drawings of dark trees that can be interpreted as flames, akin to the heated frustrations and passions of the characters.
Indeed, “The Crucible” makes for powerful opera. In its production, there can be no compromises in vocals or characterizations. And there are no such concessions in this vibrant Anderson University production.
This cast has grown not only individually as students honing their craft but as an ensemble relying and caring about one’s another performance.
Contact Scott L. Miley: 648-4230, scott.miley@heraldbulletin.com
Community
Related Photos
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John Proctor, center, played by Frank Ebels, accuses Abigail Williams, played by Kayla Shoemaker, of lying to a court in "The Crucible," an opera on stage this weekend at Anderson University's Boze Lyric Theatre. Scott L. Miley
Discussion
A powerful 'Crucible'
AU production of Pulitzer Prize-winning opera a tour de force
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