How to dance a dance of contrition? Jealousy, slander, hysteria and fear? Helen Pickett's latest, more fleshed-out adaptation of Arthur Miller's classic The Crucible arrives at an interesting time, culturally, when the two most recent successful TV franchises focus on female protagonists: The Handmaid's Tale and Killing Eve (the former focusing on misogyny and oppression, the latter, psychopathy and sexuality). She pulls the audience into the shadow psyche, by framing the Salem witch trials around the affair between servant Abigail Williams (Claire Souet) and affluent, married man John Proctor (Barnaby Rook Bishop) and consequently, the fall-out in their deeply religious Puritan community. This new production comes as part of Scottish Ballet's half-century celebrations.
Araminta Wraith and company in Scottish Ballet's “The Crucible” by Helen Pickett. Photograph by Jane Hobson
One way to get to know the history of a company is through the “liner notes” of its “Swan Lake” production, and for those of us continuing to build an admiring familiarity with Pacific Northwest Ballet via its digital season offerings, Kent Stowell and Francia Russell’s “Swan Lake” provides an interesting glimpse into PNB prior to Peter Boal’s leadership.FREE ARTICLE