Review: Opera In the Pines spellbinds with ‘The Crucible’ (2024)

We have heard the term witch hunt thrown around lately. What better time to revive an operatic version of a classic literary work on the subject.

This past weekend – in a sold-out, three-night run – Opera in the Pines presented a production of the Pulitzer Prize winning 1961 opera “The Crucible” by Robert Ward (with libretto by Bernard Stambler) at The Old Red Church, a well-maintained 1804 historical landmark in Standish.

A self-described “alternative opera company,” Opera in the Pines assembled an impressive group of mostly local actors and singers who, apropos the subject matter, presented a spellbinding performance under the direction of Sable Strout, who adapted the work with Tina Davis.

The relatively brief but dramatically rich opera musically revisits the events of the 1692-’93 Salem witch trials which were famously portrayed by Arthur Miller in his 1953 play of the same title. Miller’s work has often been viewed as an allegory of the controversial search in the 1950s for communist sympathizers in the U.S. government and the entertainment industry.

Sung in English and with English supertitles (by Aaren Rivard, who also designed the varied lighting), the engrossing production included folksy-to-feverish musical accompaniment on the piano by Kellie Moody. Costumes and wigs by Sarah Kennedy and Jericah Potvin brought the period visually to life. Expressive modern dance interventions, choreographed and performed by Grace Koury of the Portland Ballet, added a sort of ethereal pantomime.

Robert Gerold, as the stern and threatening Judge Danforth, called the proceedings to order at Saturday’s performance with three forbidding strikes of his gavel. Order followed, though it was often disrupted by a group of unruly young women who would eventually create havoc as accusations of witchery were hurled.

Isaac Bray, as farmer John Proctor, reeled as his wife Elizabeth, played by Abi Levis, came into the crosshairs of Mia Love’s Abigail, the Proctor’s former servant who had had an affair with John. Whether his John was confronting the court’s hypocrisy or acknowledging his own weakness, Bray’s resonant baritone (in a cast heavy with lower vocal range performers), commanded attention and sympathy as his resistance to sacrificing his good name wavered.

Levis’ Elizabeth remained resolute while revealing her anguish in moving solo and duet passages. Love’s face and voice revealed the twisted romantic logic that sought to justify Abigail’s actions.

Kate Fogg, a diminutive performer with a big voice, was a standout as her Mary caught the court’s attention. Mezzo-soprano Raphaella Medina had a touching moment as she huddled with the accused, undoubtedly reflecting director Strout’s stated desire to focus a bit more on the oppressed women of the tale.

Anna Hawkes, John David Adams, Joshua Miller, Jonas Rimkunas and David Myers, Jr. all added to a production that packed a lot into its 80 minutes.

This thoughtful production of a timely and timeless opera deserves an encore run.

Steve Feeney is a freelance writer who lives in Portland.

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