“The most validating theatrical experience a young woman can have!“
“Five young women running on pop music, optimism and fury are about to shed light on the darkest secrets in their small town. A story about girlhood, power, and questioning the narratives we’ve been taught.” Written by Kimberly Belflower and directed by Danya Taymor, this eagerly anticipated Broadway transfer moved the audience to tears at the Royal Court Theatre last night. Whether from tears of joy, feminist rage, or undefinable overwhelming emotion, people of all ages and genders have a lot to connect with in John Proctor is a Villain.
This sold-out production (limited returns available) tells the story of five female students in a “one stoplight” American town during the thick of the #MeToo movement and Trump’s first presidency. Within this conservative Christian community, each girl has a distinct personality that shines through, from their unique family backgrounds, differing opinions and ways of expression. This was an extremely refreshing take on shows that are set in a high school, as we have seen countless teen musicals that supposedly centre the young female experience, but never from this perspective. As a young woman who was a teenager when the play is set (2018), I immediately felt protective of these characters who felt like an alternate universe, American version of my own school friendship group. John Proctor is a Villain is shockingly universal (most Royal Court audience members won’t be from small town America), and compels everyone to consider the true intentions behind a “witch hunt” and the consequences of defending a man’s reputation.
The young characters frequently use language and pop culture references that you would definitely hear a teenage girl say in 2018 (“to quote Taylor Swift, we are NEVER getting back together! LIKE EVER!”). Sometimes these references feel somewhat cliche, (“and that’s what you missed on Glee!”) but it is an understandable move for wider audience appeal. Any awkwardness or cringe that is felt in these moments is completely overridden by the feeling of sheer love and respect that the creative team clearly have for these characters. The girls are never portrayed as silly or wrong for any of their opinions. They are treated with emotional depth and sincerity, inviting the audience to do the same. While some of the girls seem to stand on opposite ends of the feminist spectrum, the play never points fingers at which girl is “correct”, you always get the sense that each of these characters are on their own journey, and must be engaged with as valuable and complex individuals.
The Royal Court is a perfectly intimate space for this phenomenally talented cast to connect with the audience. Special congratulations to the professional stage debuts of: Charlie Borg, Reece Braddock and Molly McFadden! Molly leads the gang as the straight-A student Beth, who is beginning to immerse herself in modern feminism. Molly gives an appropriately highly-strung and energetic performance, capturing the kind of girl we all knew (or were!) at school, on the precipice of activism but not quite knowing how to express herself yet. Miya James is outstanding as Raelynn. She is one of the most grounded characters in the show, and the way she juggles many real and complex relationships while still feeling like an awkward, funny teenager is very impressive. Sadie Soverall as Shelby deserves every piece of praise that is guaranteed to come her way. Perfectly balancing the awkwardness, hurt, vulnerability and bravery of her character, she leads the show with the strength of a West End veteran.
The direction and movement of this show felt very realistic to how teenage girls would speak and move. At times some line deliveries felt slightly unnatural, but it admittedly seems difficult to make pop culture references and (now slightly outdated) teenage slang feel fully ‘off the cuff’. The lighting and sound design elevated the already fantastic script, punctuating the inner angst that comes across in the acting. The show was gripping throughout, but the play builds to a moment of extreme catharsis, if you weren’t already tearing up, you will be sobbing by the end. The genius use of female pop music (Green Light by Lorde) in this moment perfectly encapsulates how overwhelming it feels to be alive as a young woman at this point in time.
John Proctor is a Villain is more than an ‘urgent’ play. It’s the most validating theatrical experience a young woman can have.