The Crucible
at Capistrano Valley High School

Reviewed on January 10, 2015

Jennifer Kaplan
Tesoro High School
Submitted for publication to Orange County Register

Capo's "Crucible" is Bewitchingly Dark

Blue lighting washes across a sea of heaving faces as pulsating music hums. Huddled girls dance wildly, limbs flailing, high-pitched, maniacal laughter shattering the air.

This is Capistrano Valley's "The Crucible", the tale of how teenaged Abigail wrecks havoc upon Salem, Massachusetts when she accuses townspeople of witchcraft in a twisted power game.

Exuding frenzied panic as she nervously shuffles across the stage and repeatedly touches her chest and face, Bessie Kurzeja's Abigail is at once vulnerable and manipulative. Though she feigns gentleness while courting John Proctor, flirtatiously twirling her skirt and tenderly caressing his cheek and arm, her vicious nature reappears while manipulating others, at one point shoving Betty (Jasa Davidson) back into bed and then forcibly dragging her across the room by the arm. In another revealing scene, she fakes possession, head vigorously shaking and fists clenched, eyes darting hyperactively until she fixates, eyes dilated, on an imagined demon.

The stormy John Proctor (Matt Kushnir) attempts to dismantle Abigail's lies. Displaying a grim-set lip that's frequently twisted into an enraged snarl, Kushnir embodies anguish. He paces haphazardly, arms crossed in consternation across his chest, until his anger is revealed abruptly while lunging for a whip and slamming his fist forcibly against a table to make a point.

As he doggedly tries to control the situation, Will Conover towers threateningly as Parris. His booming voice and patronizing hand gestures command attention, as when he points fingers accusingly or motions downward with his palm- as if to quash the chaos erupting around him. By the end, however, he is a broken man: his straight posture has deflated to a slight hunch, the fever in his voice is a mere simmer, and he leans heavily against the set, as though supporting himself against the weight of the world.

Speaking with a lilting Barbados accent, Tituba (Paige Vanderwarker) is both deranged and captivating with her hunched posture and vocals that shift between anxious mumbling and frenzied screaming as she collapses upon the floor, head bowed and limbs splayed in rapture for her new found love of God.

With dissonant pulses interspersed by ghostly lines from the actual script,
Melissa Gomes's sinister sound design heightens the tension and darkens the ominous mood.

Through an expressive cast and technical details deftly designed to heighten the tension, Capistrano Valley's production reveals that lies are the most dangerous witchcraft of all.

Jennifer Kaplan
Tesoro High School
Submitted for publication to Orange County Register

Capo's "Crucible" is Bewitchingly Dark

Blue lighting washes across a sea of heaving faces as pulsating music hums. Huddled girls dance wildly, limbs flailing, high-pitched, maniacal laughter shattering the air.

This is Capistrano Valley's "The Crucible", the tale of how teenaged Abigail wrecks havoc upon Salem, Massachusetts when she accuses townspeople of witchcraft in a twisted power game.

Exuding frenzied panic as she nervously shuffles across the stage and repeatedly touches her chest and face, Bessie Kurzeja's Abigail is at once vulnerable and manipulative. Though she feigns gentleness while courting John Proctor, flirtatiously twirling her skirt and tenderly caressing his cheek and arm, her vicious nature reappears while manipulating others, at one point shoving Betty (Jasa Davidson) back into bed and then forcibly dragging her across the room by the arm. In another revealing scene, she fakes possession, head vigorously shaking and fists clenched, eyes darting hyperactively until she fixates, eyes dilated, on an imagined demon.

The stormy John Proctor (Matt Kushnir) attempts to dismantle Abigail's lies. Displaying a grim-set lip that's frequently twisted into an enraged snarl, Kushnir embodies anguish. He paces haphazardly, arms crossed in consternation across his chest, until his anger is revealed abruptly while lunging for a whip and slamming his fist forcibly against a table to make a point.

As he doggedly tries to control the situation, Will Conover towers threateningly as Parris. His booming voice and patronizing hand gestures command attention, as when he points fingers accusingly or motions downward with his palm- as if to quash the chaos erupting around him. By the end, however, he is a broken man: his straight posture has deflated to a slight hunch, the fever in his voice is a mere simmer, and he leans heavily against the set, as though supporting himself against the weight of the world.

Speaking with a lilting Barbados accent, Tituba (Paige Vanderwarker) is both deranged and captivating with her hunched posture and vocals that shift between anxious mumbling and frenzied screaming as she collapses upon the floor, head bowed and limbs splayed in rapture for her new found love of God.

With dissonant pulses interspersed by ghostly lines from the actual script,
Melissa Gomes's sinister sound design heightens the tension and darkens the ominous mood.

Through an expressive cast and technical details deftly designed to heighten the tension, Capistrano Valley's production reveals that lies are the most dangerous witchcraft of all.

Isabelle Langlois
University High School
Submitted for publication to Orange County Register

Capistrano Valley Conjures Wicked Talent in The Crucible

Capistrano Valley's Performing Arts presents The Crucible, a classic play by Arthur Miller about Salem's infamous Witch Trials. Capistrano Valley excels as they maturely stage this very dramatic and intense production. Set in 1962, Abigail Williams and other young girls are caught dancing chaotically and singing Barbadian songs in the woods around a steaming pot of animal fibers and chicken blood. With increasing pressure from concerned townsmen, Abigail quickly blames witchcraft for all the bizarre events occurring. Talk of witchery spreads like fire and soon the whole town becomes suspect.

Andrea van den Boogaard's lighting design perfectly captures the tense mood of The Crucible. Specifically, in Reverend Parris' house, where talk of witchery and evil spirits first occurs due to Betty Parris' peculiar behavior. Soft yellow hues are cast down from several practical lighting instruments and catch the color of early morning light exactly. The direction of the light casts a shadow on the actors' faces and enhances their stern facial expressions. The eerie lighting flawlessly adapts as a physical representation of the invisible emotions during the play.

Bessie Kurzeja, acting as Abigail Williams, plays a manipulating character throughout The Crucible. Particularly in Reverend Parris' house, Bessie's variation in vocal expression, specifically her pitch and speed, portrays Abigail William's whining and accusative character effectively. As the plot evolves on stage, Bessie's constant facial expressions react to the dialogue and her fidgeting hand movements further add to her nervous, guilty condition.

Caitlin McFann's set design cleverly exploits the stage size to its best ability. A four-foot rectangular box with two staircases facing the house perpetuates out on both sides of the configuration. In the courtroom, the vast apparatus is a versatile contraption that allows Judge Hathorne and his court officials to literally tower over the defenseless farmers and accused citizens of Salem. The set is extremely effective at physically representing the theme of power in The Crucible. When the judges and court officials perch at the top of the structure, it indicates the law's authority and creates a clear contrast between the powerful and powerless.

The entire cast of Capistrano Valley High School shows great maturity on stage and perfectly brings this intense, dramatic play to life. The actors' facial expressions are exaggerated with intelligently crafted lighting design, and the versatile set catalyzes character development and plot movement.

Isabelle Langlois
University High School
Submitted for publication to Orange County Register

Capistrano Valley Conjures Wicked Talent in The Crucible

Capistrano Valley's Performing Arts presents The Crucible, a classic play by Arthur Miller about Salem's infamous Witch Trials. Capistrano Valley excels as they maturely stage this very dramatic and intense production. Set in 1962, Abigail Williams and other young girls are caught dancing chaotically and singing Barbadian songs in the woods around a steaming pot of animal fibers and chicken blood. With increasing pressure from concerned townsmen, Abigail quickly blames witchcraft for all the bizarre events occurring. Talk of witchery spreads like fire and soon the whole town becomes suspect.

Andrea van den Boogaard's lighting design perfectly captures the tense mood of The Crucible. Specifically, in Reverend Parris' house, where talk of witchery and evil spirits first occurs due to Betty Parris' peculiar behavior. Soft yellow hues are cast down from several practical lighting instruments and catch the color of early morning light exactly. The direction of the light casts a shadow on the actors' faces and enhances their stern facial expressions. The eerie lighting flawlessly adapts as a physical representation of the invisible emotions during the play.

Bessie Kurzeja, acting as Abigail Williams, plays a manipulating character throughout The Crucible. Particularly in Reverend Parris' house, Bessie's variation in vocal expression, specifically her pitch and speed, portrays Abigail William's whining and accusative character effectively. As the plot evolves on stage, Bessie's constant facial expressions react to the dialogue and her fidgeting hand movements further add to her nervous, guilty condition.

Caitlin McFann's set design cleverly exploits the stage size to its best ability. A four-foot rectangular box with two staircases facing the house perpetuates out on both sides of the configuration. In the courtroom, the vast apparatus is a versatile contraption that allows Judge Hathorne and his court officials to literally tower over the defenseless farmers and accused citizens of Salem. The set is extremely effective at physically representing the theme of power in The Crucible. When the judges and court officials perch at the top of the structure, it indicates the law's authority and creates a clear contrast between the powerful and powerless.

The entire cast of Capistrano Valley High School shows great maturity on stage and perfectly brings this intense, dramatic play to life. The actors' facial expressions are exaggerated with intelligently crafted lighting design, and the versatile set catalyzes character development and plot movement.

Claire Pritchard
Fountain Valley High School
Submitted for publication to OC Cappies Facebook

Capistrano Valley commands in ‘The Crucible'

Accusations, witchcraft, and endless conflict come to life in Capistrano Valley High School's production of "The Crucible." The play tells the story of the town of Salem, Massachusetts in 1692. A young servant-girl charges anyone she can find of witchcraft, creating turmoil in the already-precarious town.

Matt Kushnir as John Proctor takes charge of the stage whenever present, with a booming voice and forceful movements. Reverend Hale (Andrea van den Boogaard) is equally as powerful, with an upright back and a never-back-down attitude. Her knowledge of the meaning behind her words is apparent in her change in tone and speaking patterns.

Parris and Mary Warren (Will Conover and Maddy Cole, respectively) both show their maturity and understanding of the situation in their voices and posture. Their grasp of the circumstances and consequent actions are believable and help the story develop.

The production itself is very dramatic and does not allow much room for comedy, but characters like Tituba (Paige Vanderwarker) and Giles Corey (Michael Lahaderne) provide some relief from the constant crises of the show. Vanderwarker's Barbados accent and fluid-like movements throughout the performance present consistency, while Lahaderne's awareness of the subtle comedic moments gives reprieve from the drama.

The actors in this cast share recognition of their circumstances and what is an appropriate reaction. The tension and guilt between John and Elizabeth Proctor is clear in their turning away from each other and reluctance to trust the other. Even when not speaking, each actor kept the performance going through facial expressions and body language.

The layout of the stage (Caitlin McFann), with a small platform where the reverends and judge sit, makes obvious their power over the other characters and their important in the scenes. The lights (Andrea van den Boogaard) add even more to the abundant tension of the story, changing from blue to white to red in forest, courtroom, and climatic points.

Capistrano Valley's performance of ‘The Crucible' is endearing, in drama and hostility and in emotional appeal.

Claire Pritchard
Fountain Valley High School
Submitted for publication to OC Cappies Facebook

Capistrano Valley commands in ‘The Crucible'

Accusations, witchcraft, and endless conflict come to life in Capistrano Valley High School's production of "The Crucible." The play tells the story of the town of Salem, Massachusetts in 1692. A young servant-girl charges anyone she can find of witchcraft, creating turmoil in the already-precarious town.

Matt Kushnir as John Proctor takes charge of the stage whenever present, with a booming voice and forceful movements. Reverend Hale (Andrea van den Boogaard) is equally as powerful, with an upright back and a never-back-down attitude. Her knowledge of the meaning behind her words is apparent in her change in tone and speaking patterns.

Parris and Mary Warren (Will Conover and Maddy Cole, respectively) both show their maturity and understanding of the situation in their voices and posture. Their grasp of the circumstances and consequent actions are believable and help the story develop.

The production itself is very dramatic and does not allow much room for comedy, but characters like Tituba (Paige Vanderwarker) and Giles Corey (Michael Lahaderne) provide some relief from the constant crises of the show. Vanderwarker's Barbados accent and fluid-like movements throughout the performance present consistency, while Lahaderne's awareness of the subtle comedic moments gives reprieve from the drama.

The actors in this cast share recognition of their circumstances and what is an appropriate reaction. The tension and guilt between John and Elizabeth Proctor is clear in their turning away from each other and reluctance to trust the other. Even when not speaking, each actor kept the performance going through facial expressions and body language.

The layout of the stage (Caitlin McFann), with a small platform where the reverends and judge sit, makes obvious their power over the other characters and their important in the scenes. The lights (Andrea van den Boogaard) add even more to the abundant tension of the story, changing from blue to white to red in forest, courtroom, and climatic points.

Capistrano Valley's performance of ‘The Crucible' is endearing, in drama and hostility and in emotional appeal.