About this title:
The enduring classic drama of the Salem witch trials was inspired by the political witch-hunting activities of Senator Joseph McCarthy in the '50s. Though set in the 17th century, "The Crucible" presents issues still gnawing at modern society.
About the Author:
Arthur Miller was born in New York City in 1915 and studied at the University of Michigan. His plays include 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 (1963), Incident at Vichy (1964), The Price (1968), The Creation of the World and Other Business (1972) and The American Clock. He has also written two novels, Focus (1945), and The Misfits, which was filmed in 1960, and the text for In Russia (1969), Chinese Encounters (1979), and In the Country (1977), three books of photographs by his wife, Inge Morath. More recent works include a memoir, Timebends (1987), and the plays The Ride Down Mt. Morgan (1991), The Last Yankee (1993), Broken Glass (1993), which won the Olivier Award for Best Play of the London Season, and Mr. Peter's Connections (1998). His latest book is On Politics and the Art of Acting. Miller was granted with the 2001 Medal for Distinguished Contribution to American Letters. He has twice won the New York Drama Critics Circle Award, and in 1949 he was awarded the Pulitzer Prize.
Christopher Bigsby is professor of American Studies at the University of East Anglia. He edited the Penguin Classics editions of Miller's The Crucible, Death of a Salesman, and All My Sons.
This excellent recording reissues the 1972 performance featuring Robert Foxworth as John Proctor and Pamela Payton-Wright as Abigail Williams. Miller's play about witch hunts in Salem, Massachusetts, explores empty piety, the nature of guilt and mass hysteria. Every scene works well in this dramaticÐeven emotionally wrenchingÐrecording. Foxworth's voice conveys Proctor's mixed shame and dignity well. As Abby, Payton-Wright feigns innocence, flaunts self-pride, threatens and cajoles. Opinions vary as to whether Miller's play leans more closely to melodrama or to tragedy, but, in either case, it's served well by this fine performance. Fans of drama on audio will eagerly await further titles from Caedmon's archive. G.H. (c)AudioFile, Portland, Maine
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