An elegant display of timeless anguish
Scottish Ballet’s production of The Crucible has settled in Edinburgh’s Festival theatre this week to break audiences’ hearts after an applauded run in Aberdeen. The Arthur Miller play has been reframed and retold many times since its 1953 publication, and in 2019 Scottish Ballet took on the heartbreaking tale of The Salem Witch Trials and pumped tenfold more heart into their retelling. CEO Christopher Hampson describes the production as ‘a cornerstone of Scottish Ballet’s repertoire’ and the 2025 national tour proves exactly why it is.
Adapting a story such as The Crucible into a ballet (an art form known to be accompanied by music and no speech) is no small feat as the play holds so much in its text, being a staple in English classrooms across the country where, myself included, first were introduced to Millar’s text. But actions truly speak louder than words with the emotionally charged choreography by Helen Picket, with each sequence combining the elegant artform of ballet with the gritty emotion of Salem’s tale. No words were required to make the audience weep. This review would be amiss without mentioning the stunning orchestrations that swell into every crack of the festival theatre auditorium. Composed by Peter Salem (a wonderfully fitting surname) and conducted by Daniel Parkinson.Tthe Scottish Ballet Orchestra performed each phrase as if they and the dancers were one mind. Each note in the music perfectly accented the emotion on stage.
The company themselves are to be highlighted for the soul they bring into this production. Amy McEntree
, a first dancer from the company is quoted saying ‘I hope the audience sees our dedication to the story—not just from the principal characters but from the entire cast.’ and it sure translates. Every performer has their moment to shine and individually break off a piece of the audience’s heart. No performer felt out of place.
A stand out performance is done by Kayla-Maree Tarantolo as Abigail Williams. She commands every moment she is on stage. Whether performing a solo, pas de deux, or a group sequence, she is there embodying the cruel natured Abigail with every inch of her being. We can feel her character seeth and plot through every artfully course movement. Contrastingly we have Jessica Fyfe as Elizabeth Proctor who draws attention through the softness she presents as John Proctor’s wife, even in the character’s angriest moments. With every movement she made, the stillness in the audience was palpable, as if everyone was holding in a collective breath only to be released when she rested.
Production like these are exactly why stories such as The Crucible become timeless classics. The stamp of freshness combined with its faithfulness to the original play. Another stellar production from the Scottish Ballet, this one is not to be missed.