“I saw Sarah Good with the Devil! I saw Goody Osburn with the Devil! I saw Bridget Bishop with the Devil!” –Arthur Miller, The Crucible
Blog
Ryan Quinn and Truett Felt in The Crucible (Photo: Ashley Garrett)
The Crucible
NYC 2019 | Boston 2019
Written by Arthur Miller
Directed by Eric Tucker
The Crucible is a 1953 play by American playwright Arthur Miller. It is a dramatized and partially fictionalized story of the Salem witch trials that took place in the Massachusetts Bay Colony during 1692–93. Miller wrote the play as an allegory for McCarthyism, when the United States government persecuted people accused of being communists. Miller was questioned by the House of Representatives’ Committee on Un-American Activities in 1956 and convicted of contempt of Congress for refusing to identify others present at meetings he had attended.
The Crucible ran approximately 3 hours, including a 15-minute intermission.
A planned March 27th – April 26th 2020 remount of Arthur Miller’s The Crucible at The Connelly Theater was canceled due to COVID-19 .
Tickets
THE CRUCIBLE at The Connelly Theater, NYC Choose from the dates below or Use Calendar
YOU WILL HAVE AN OPPORTUNITY TO CHOOSE YOUR SEATS AFTER YOU HAVE SELECTED A DATE
SEATING LEVELS:
⬤ Premium Section One Seats $95
Reserved seating that is closest to the action of all available seating.
⬤ General Admissions $55
First come, first serve seating in “the playing area” as well as “on stage.”
Meet the cast
The Crucible at The Connelly Theater, NYC
Alan Altschuler
Alan is thrilled to be performing in Bedlam’s production of “The Crucible”. His New York City theater roles include: Polonius (Hamlet); Baylor (A Lie of the Mind); Oberon (A Midsummer Night’s Dream); Creon (The People vs. Antigone); Pastor Manders (Ghosts); Rick (Bigfoot Stole My Wife); Helge (Festen); The President (Crazy Lady of Chaillot); Serebryakov (Uncle Vanya); Dr. Dorn (The Seagull); Rev. Samuel Gardner (Mrs. Warren’s Profession); Duncan (Macbeth); and Judge Randolph (A Few Good Men). Film roles include Performance; Off Hour; and The Devil’s Dolls. TV roles include Law and Order: SVU and The Onion News Network. Alan is a founding member of the Bedlam Theatre Company. He is a proud member of AEA and SAG-AFTRA. Website: www.alanaltschuler.com.
Shirine Babb
Shirine Babb has Broadway credits that include Macbeth with Ethan Hawke (Lincoln Center Theater), and Harry Potter and the Cursed Child (Tony Award for Best Play 2018 OBC). Her Off Broadway credits include Napoli, Brooklyn, Around the World in 80 Days (New Theater at 45th Street), Aliens with Extraordinary Skills (Women’s Project), A Role Once Played (29th Street Repertory Theater, AUDELCO Award nomination), and Single Black Female (Duke on 42nd Street). Other credits include School Girls; or, The African Mean Girls Play (Round House Theatre), Steven Dietz’s This Random World (Actor’s Theatre Humana Festival), the title role in Antony & Cleopatra (Shakespeare Festival St. Louis, 2015 Theatre Critic Circle nomination), The Merchant of Venice with Sir Derek Jacobi (The Strathmore) and Measure & Dido with Sir Derek Jacobi (The Kennedy Center and Napa Shakespeare), Julius Caesar (Folger Theatre), Widows (Arcola Theatre, London), and Disgraced (Long Wharf Theatre 2015 Critic Circle Best Feature nomination). She was also seen in the 2010 and 2011 seasons at The Old Globe Shakespeare Festival. Her television credits include “Iron Fist,” “I Love You… But I Lied,” “Blue Bloods,” and “Madam Secretary.” Ms. Babb holds an MA from East 15 Acting Conservatory, London, and an MFA from the University of San Diego/The Old Globe.
Rajesh Bose
Rajesh is thrilled to be returning to Bedlam after playing Alfred Doolittle in last years production of Off-Broadway and Regional Favorites: Henry VI (NAATCO), Pygmalion (Bedlam), Against The Hillside (Ensemble Studio Theatre), Indian Ink (Roundabout), Oslo (St. Louis Rep), Mary Stuart (Folger Theatre), Guards at the Taj (Capital Stage), Disgraced (Playmakers Rep, Huntington Theatre, Long Wharf Theatre – Connecticut Critics Circle Award, IRNE Nomination), The Who & The What (Gulfshore Playhouse), and The Invisible Hand (Westport Country Playhouse, Hartford TheaterWorks). Film & Television: “Quantico”, “Blue Bloods”, “Elementary”, “Damages”, “Nurse Jackie”, “Madame Secretary”, “The Good Wife”, “Law & Order: SVU”, “Criminal Minds”, the series finale of “The Sopranos”, and the Acadamy Award nominated film Frozen River.
Truett Felt
Truett Felt is a NYC based actor and singer. New York: Matthew Amendt’s The Comedian’s Tragedy (Access Theater), Victory Train (NYMF), F8 or Down with Chads (PlayGround). Regional: Beauty and the Beast, Off the Rails (Oregon Shakespeare Festival), The Bottle Tree (Z Below), The Comedy of Errors (Craterian Theater). Truett is originally from Portland, Oregon. She graduated with a BFA in acting from Southern Oregon University.
Caroline Grogan
Caroline Grogan is thrilled to be making her Bedlam debut. She was most recently seen in Mona Mansour’s Beginning Days of True Jubilation, directed by Scott Illingworth, Chuck Mee’s JESUS (13th Street Rep), and Polaroid Stories (Tisch Stage Works). Caroline is also a puppeteer for Puppetsburg, a teaching artist for the arts nonprofit, Zara Aina, and a recent graduate from NYU’s Tisch School of the Arts. www.caroline-grogan.com
Eliza Fichter
With Bedlam: The Crucible (Central Square Theatre) and King Lear (Bristol Riverside Theatre). Regional: The Revolutionists (The Nora Theatre Company); Matchless & The Happy Prince, A Christmas Carol (Underground Railway Theater); The Corn is Green (Huntington Theatre Company). Touring: Macbeth, The Comedy of Errors, and Odyssey (Olney Theatre Center). B.F.A: Boston University. Ed.M: Harvard University. elizafichter.com
Susannah Millonzi
Bedlam: Uncle Romeo Vanya Juliet, New York Animals (WSJ Performance of the Year 2015), Dead Dog Park, Twelfth Night(s) (also at Central Square Theater); Classic Stage Company: Prometheus Bound (David Oyelowo); David Neumann/Advanced Beginner Group: tough, the tough, 21st Annual Bessie Awards; Clubbed Thumb: Pageant; Hudson Valley Shakespeare Festival: Othello, Two Gentlemen of Verona, A Midsummer Night’s Dream, The Arabian Nights, The Winter’s Tale; Shakespeare & Company: Romeo and Juliet, King John, As You Like It, Comedy of Errors; Seattle Shakespeare Company: Twelfth Night, Electra (Footlight Award: Best Actor); Georgia Shakespeare Festival: Julius Caesar, As You Like It, The Merchant of Venice, All’s Well that Ends Well; Orlando Shakespeare Company: As You Like It; Elm Shakespeare: The Three Musketeers; Boston Theatre Works: The Tempest. Choreographer for Bedlam, Hudson Valley Shakespeare Festival, Orlando Shakespeare Company, Georgia Shakespeare Festival, Milwaukee Repertory Theatre, Esperance. B.A. Barnard College. For my daughters.
Galen Molk
Off-Broadway: Julius Caesar (Theatre for a New Audience), The Exes (Theatre Row). Regional: Mary Zimmerman’s The Odyssey, Julius Caesar (Oregon Shakespeare Festival). New York: The Comedian’s Tragedy (Access Theater), King John (John Cullum Theatre), meg jo beth amy & louisa (Dixon Place), Against the Wall (Playwrights Downtown), Every Seven Minutes (The Navigators), To Live In Peace (Theater for the New City), The Dream of the Rood (American Theatre of Actors). BFA Southern Oregon University. www.galenmolk.com
Ryan Quinn
With Bedlam: The Crucible (Central Square Theater), Sense and Sensibility (A.R.T.) & (Portland Center Stage), and Dead Dog Park (59E59 Theaters). Off-Broadway: Whorl Inside a Loop (Second Stage); The Killer, King Lear, Hamlet, and Antony and Cleopatra (Theater for a New Audience); Vanity Fair (Pearl Theatre Company). Select regional: Yellowman (Milwaukee Repertory Theater); Hamlet and The Two Gentlemen of Verona (The Old Globe Theatre); The King Stag (Yale Repertory Theatre); Pride and Prejudice (Dorset Theatre Festival); and eight seasons with The Hudson Valley Shakespeare Festival. TV/Film: Blindspot, Madam Secretary, The Blacklist: Redemption, Person of Interest, Friends from College, and Ovum. Ryan is the artistic director of Esperance Theater Company (esperancetheatercompany.org). M.F.A: Yale School of Drama. For Dad who taught how me to tell stories, and for Zoë, who loves to hear them.
Randolph Curtis Rand
Randolph Curtis Rand is a theatre artist, working in design, directing, teaching, and performance. He has appeared with many artists throughout the country, and abroad, including: Bedlam, Burning Coal Theatre (NC), Joseph Chaikin, Compagnia de’ Colombari, Elevator Repair Service, Richard Foreman, The Foundry, Meredith Monk, Not Man Apart (CA) Pig Iron Theatre, The Rude Mechs, The Talking Band, Target- Margin, and The Wooster Group to name a few…AND in many institutions like, Actors Theatre of Louisville, The Adelaide Festival, Carnegie Hall, The Cockpit (UK), The Duke Ellington School of the Arts, The Public Theatres (New York, Cleveland, and Pittsburgh), The Kitchen, La Mama, Lincoln Center, The Meltdown Festival (UK), Naropa University, NYU Tisch School of the Arts (Graduate Acting School and Undergraduate Theatre), On the Boards, The Orlando Shakespeare Theatre, P.S. 122, UCLA, University of the Arts, The Walker and The Wexner, among many others.
David Keohane
David is ecstatic to be making his New York debut with the crazies at Bedlam. Other Bedlam credits include The Crucible and Pygmalion at Central Square Theater. Boston area credits include Vanity Fair, Frankenstein, A Christmas Carol, Matchless & The Happy Prince (Central Square Theater), and work with SpeakEasy Stage Company. Chicago area credits include productions with Goodman Theatre, Chicago Shakespeare Theater, Jackalope Theatre, and Oak Park Festival Theatre. David received his BFA from Boston University with an acting certificate from the London Academy of Music and Dramatic Arts. www.davidmkeohane.com
John Terry
John Terry is proud to be a part of this wonderful production in his Bedlam debut. John was most recently seen in Marietta’s Theatre in the Square’s production of Clybourne Park as Russ and Dan. He also appeared in the award wiinning The Asylum of Dr. Moreau at The Orlando Fringe Festival, a piece which he also helped devise. Other notable roles include Macbeth, Titus Andronicus, Ben in Detroit, and his personal favorite Dr. Frank N. Furter. John is also a teacher. For the past year, he has lectured at the University of Georgia. Many thanks to Eric Tucker, his many friends and family members who continually support him, and Carianne. You can find more information at www.johnfaroterry.com
Eric Tucker
Wall Street Journal DIRECTOR OF THE YEAR 2014. Off Broadway: Uncle Romeo Vanya Juliet; Pygmalion; Peter Pan; Vanity Fair; Bedlam’s Sense and Sensibility (Off Broadway Alliance Award, Lortel nom, Best Director, Drama League nom, Best Revival, 4 Helen Hayes awards including Best Director and Best Production); A Midsummer Night’s Dream (Drama League nom Best Revival, WSJ Best Classical Production 2015); Bedlam’s Saint Joan (NY Times/Time Magazine top 10; Off Broadway Alliance Best Revival 2014); Bedlam’s Hamlet (NY Times top 10); Tina Packer’s Women of Will; New York Animals (World Premiere by Steven Sater/Burt Bacharach), Twelfth Night and What You Will (NYTCritics Picks); The Seagull (WSJ Best Classical Production 2014). Other: Caesar and Cleopatra (ASC); The Rivals (BRT); The Merry Wives of Windsor (Two River), Disney’s Beauty & The Beast (OSF); Pericles (APT, WSJ Best Classical Production 2017); Copenhagen (Central Square Theatre), The Two Gentlemen of Verona (HVSF), Mate (The Actors’ Gang). Eric resides in New York City where he is Artistic Director of Bedlam.
Creative
The Crucible at The Connelly Theater, NYC
Writer
ARTHUR MILLER
Arthur Miller (1915-2005) was born in New York City and studied at the University of Michigan. His plays include The Man Who Had All The Luck (1944), All My Sons (1947), Death Of A Salesman (1949), The Crucible (1953), A View From The Bridge and A Memory Of Two Mondays (1955), After The Fall (1964), Incident At Vichy (1964), The Price (1968), The Creation Of The World And Other Business (1972), The Archbishop’s Ceiling (1977), The American Clock (1980) and Playing For Time. Later plays include The Ride Down Mt. Morgan (1991), The Last Yankee (1993), Broken Glass (1994), Mr. Peters’ Connections (1998), Resurrection Blues (2002), and Finishing The Picture (2004). Other works include Focus, a novel (1945); The Misfits, a screenplay (1960), and the texts for In Russia (1969), In the Country (1977), and Chinese Encounters (1979) three books in collaboration with his wife, photographer Inge Morath. Memoirs include Salesman in Beijing (1984) and Timebends, an autobiography (1988). Short fiction includes the collection I Don’t Need You Anymore (1967), the Homely Girl, a Life (1995) and Presence: Stories (2007). He was awarded the Avery Hopwood Award for Playwriting at University of Michigan in 1936. He twice won the New York Drama Critics Circle Award, received two Emmy awards and three Tony Awards for his plays, as well as a Tony Award for Lifetime Achievement. He also won an Obie award, a BBC Best Play Award, the George Foster Peabody Award, a Gold Medal for Drama from the National Institute of Arts and Letters, the Literary Lion Award from the New York Public Library, the John F. Kennedy Lifetime Achievement Award, and the Algur Meadows Award. He was named Jefferson Lecturer for the National Endowment for the Humanities in 2001. He was awarded the 2002 Prince of Asturias Award for Letters and the 2003 Jerusalem Prize. He received honorary degrees from Oxford University and Harvard University and was awarded the Prix Moliere of the French theatre, the Dorothy and Lillian Gish Lifetime Achievement Award, and the Pulitzer Prize.
Director
ERIC TUCKER
Wall Street Journal DIRECTOR OF THE YEAR 2014. Off Broadway: Uncle Romeo Vanya Juliet; Pygmalion; Peter Pan; Vanity Fair; Bedlam’s Sense and Sensibility (Off Broadway Alliance Award, Lortel nom, Best Director, Drama League nom, Best Revival, 4 Helen Hayes awards including Best Director and Best Production); A Midsummer Night’s Dream (Drama League nom Best Revival, WSJ Best Classical Production 2015); Bedlam’s Saint Joan (NY Times/Time Magazine top 10; Off Broadway Alliance Best Revival 2014); Bedlam’s Hamlet (NY Times top 10); Tina Packer’s Women of Will; New York Animals (World Premiere by Steven Sater/Burt Bacharach), Twelfth Night and What You Will (NYTCritics Picks); The Seagull (WSJ Best Classical Production 2014). Other: Caesar and Cleopatra (ASC); The Rivals (BRT); The Merry Wives of Windsor (Two River), Disney’s Beauty & The Beast (OSF); Pericles (APT, WSJ Best Classical Production 2017); Copenhagen (Central Square Theatre), The Two Gentlemen of Verona (HVSF), Mate (The Actors’ Gang). Eric resides in New York City where he is Artistic Director of Bedlam.
Set Design
JOHN McDERMOTT
For Bedlam: The Crucible, Sense and Sensibility, Pygmalion, Peter Pan, Hamlet, Saint Joan, New York Animals, The Seagull, and Dead Dog Park. For Colt Coeur (company member): Eureka Day, Zurich, Dry Land, Everything Is Ours, Cal in Camo, Recall and Fish Eye. Rattlestick Playwrights Theater: twenty-five designs including: 3C, Lady, Saved or Destroyed, The Undeniable Sound of Right Now, There Are No More Big Secrets and The Revisionist. Shakespeare & Company: Time Stands Still, Creditors, 4000 Miles, Red Velvet, The Comedy of Errors, The Taming, Sotto Voce, Ugly Lies the Bone. At Barrington Stage: If I Forget, Tribes, peerless, and Lost in Yonkers. For Berkshire Theater Festival: Outside Mullingar, Frankie and Johnnie in the Clair de Lune, Extremities, and Miss Julie. At Dorset Theater Festival: The Scene, Dear Elizabeth, and Red. Hudson Valley Shakespeare Festival: Pride and Prejudice, Twelfth Night, Macbeth, Measure for Measure, As You Like It, The Winter’s Tale, and The Arabian Nights. UMASS/ Amherst graduate and University of Washington MFA. Assistant Professor, Adelphi University, Garden City, Long Island.
Lighting Design
LES DICKERT
Les Dickert designs for a diverse range of contemporary and classical theater,dance, and international performance art. Previously with Bedlam: Pygmalion, Sense and Sensibility,The Seagull, Hamlet, Saint Joan, New York Animals, What You Will, Twelfth Night, Cry Havoc. New York: Isaac’s Eye, Photograph51, Card and Gift, This is Fiction, Perdita, Intimate Apparel, Seven Guitars, Julius Caesar, others. Dance: White Oak Dance Project; San Francisco, Boston, Miami, Tulsa,San Diego, Orlando, and Joffrey Ballets. International: Le Louvre, Centre Pompidou, La Scala, and the National Ballets of England, Denmark, Australia, Belgium, Canada and Russia. Awards: Mahindra, Ovation, multiple Hewes nominations. MFA: Yale School of Drama.
Costume Design
CHARLOTTE PALMER LANE
For Bedlam: Peter Pan, Pygmalion. Recent credits: Twelfth Night, Romeo and Juliet, Hamlet, King Lear, Three Musketeers, The Liar, Othello, The Winter’s Tale, An Iliad, As You Like It, Our Town, The General from America (Hudson Valley Shakespeare Festival); Blithe Spirit (Pennsylvania Shakespeare); Rutherford and Son (Mint Theater);Family Reunion, Other Desert Cities, You will Remember Me (Hudson Stage Co.); Camping with Henry and Tom (Barrington Stage Company); God of Carnage (Shakespeare & Co.); As You Like It (Folger Shakespeare Library). Film and TV: BBC, “Doctor Who,” “Miss Marple,” “The Chronicles of Narnia,” Guarding Tess, Quiz Show, “Sneaky Pete.” United Scenic Artists 829. charlottepalmerlane.squarespace.com
Production Stage Manager
DIANE HEALY
Diane Healy is happily returning to BEDLAM after having worked with the team on Saint Joan, Hamlet, Pygmalion, Peter Pan, Cry Havoc!, Twelfth Night/What You Will, Sense & Sensibility. Also in NY with: TFANA, Mabou Mines; Primary Stages; Playwrights Realm; Barrow Street Theatre; Soho Playhouse; Atlantic Theatre Co., LCT3, LaMama, Keen Company, The Civilians, EST. Regionally: Long Wharf Theatre, McCarter Theatre, Bucks County Playhouse, Folger Theatre, Shakespeare & Company, Oldcastle Theatre Company. Dance & Theatre at Princeton University, Bard College, Green Mountain College, East Tennessee State University.
Assistant Stage Manager
VIOLETA PICAYO
Bedlam: Peter Pan, Sense & Sensibility, The Seagull, New York Animals, Twelfth Night/What You Will. New York: Julius Caesar (Pocket Universe), RadioBABEL (SITI Lab), This Is How…to Dance (SITI Company), Taming of the Shrew (Tale Told). Regional/International: Sense & Sensibility (A.R.T., Bedlam), The Connector (NYSF), Young Playwrights Festival (O’Neill Theater Center), American Blues, The Importance of Being Earnest (Edinburgh Fringe), Thyestes (OYL). Training: SITI Conservatory, National Theater Institute, Vassar College.
Casting
EISENBERG/BEANS CASTING
Eisenberg/Beans Casting is a fast-paced casting office for theatre, film, television, and new media. Highlights include…Broadway: Gettin’ The Band Back Together. Off-Broadway: Life Sucks, Baghdaddy, Bedlam’s Pygmalion, Not Even The Good Things, and more. Regional/Other: Heartbreak Hotel (Broadway in Chicago), Folger Theatre, Bedlam’s Saint Joan/Hamlet on tour, Dallas Theater Center, New York Theatre Barn. Film: The Latin in Manhattan, Hands That Bind, Lapham Rising, Project Pay Day, The Miseducation of Bindu. TV: Timberwood, Mulligan. New Media: Limetown (Apple Podcasts). Daryl Eisenberg and Ally Beans are both members of Casting Society of America. www.ebcastingco.com @EBCastingCo.
PRODUCTION HISTORY
2019
The Connelly Theater
New York, NY
November 8th–December 29th, 2019
Central Square Theater
Boston, MA
September 12–October 13, 2019
Reviews
Praise for NYTimes CRITIC'S PICK The Crucible
Spirited and spellbinding! It would be odd to say that such a play could be fun, but this production is lively and enchanting, with a devilish spark of something like magic.”
Fit for Our Times… Forceful, fast-moving.”
★★★★ The Crucible Boils Over Again in a Hot and Timely Staging! … Bedlam delivers a blazing performance in dark, relatively intimate, 99-seat circumstances.”
Tucker’s staging supercharges an already electric script.”
Zachary Stewart, Theater Mania
There are strong forces at work in this Crucible.”
★★★★ Bedlam’s characteristically smart, stripped-down production pulses with an electric current and lays bare the play’s bitter truths. It is as gripping and revelatory a Miller production as New York has seen in years, and a bracing reminder of what a real witch hunt looks like.”
A MASTERFUL ‘Crucible’.”
Bedlam Offers a Visceral Take on Arthur Miller’s Witch-Hunting Classic”
Gallery
A Look Into The Crucible at The Connelly, NYC
