There’s something about walking into Waterworks’ Players that feels like a secret only the visitors are in on. It’s tucked away, right off of West Third St, in an almost cozy lot. Walking into the warm, dim-lit lobby, I was comfortable — that was, until the play started, and I got sucked right into Salem, 1692.
Arthur Miller’s “The Crucible” (1953) is a play set during the Salem Witch Trials of 1692. It follows the townspeople of Salem as hysteria and paranoia spread, leading to the trial and execution of innocent people accused of witchcraft. This play acts as an allegory and critique to the McCarthy hearings in the 1950s.
Waterworks’ production, directed by Sean Dowse, doesn’t just retell the story — it immerses you in it. Dowse, known for his work on “Appropriate” and “Cat on a Hot Tin Roof,” brings a sharp eye for tension and emotional pacing that elevates every scene.
The chaos begins with Reverend Parris (Reeves LaRoche), whose discovery of his niece Abigail Williams (Audrey Kott) and other girls dancing in the woods forces the town into suspicion. Abigail quickly starts accusing the town of witchcraft, dragging Mary Warren (Sarah Reynolds) and Elizabeth Proctor (Akilah Ramsey) into her deceit. John Proctor (Jordan Whiley), the voice of reason, battles his own guilt and responsibility for the situation. The court scenes — especially those involving Judge Hathorne (Craig Challender) and Reverend John Hale (Erik Varela) — were particularly entertaining.
One of the most jarring moments was the “everyone’s with the devil” sequence, which was so intense I found myself questioning who wasn’t with the devil. Another substantial moment came when the girls pointed to the rafters, incorporating the audience themselves in the drama of the play.
The sound design was a masterclass of subtlety. Marcus Pendergrass (piano) and Winslow Stillman (guitar) perfectly accompanied the events of the play. From the rattling of the chains on Elizabeth Proctor to the echoing moo of a cow, every sound was intentional and immersive. The music perfectly instilled the tension of the play.
Costumes, designed by Barbara Cone and Sarah Varela, were flawless for the time and place. The props and set design created a world that felt lived-in, not staged. I was amazed the whole time and really felt like the perfect atmosphere was created for what was being presented.
Despite the play’s length, everyone consistently gave a strong performance throughout. Several of the actors stayed on stage for upward of half an hour straight, delivering lines with intensity and precision. “The Crucible” is a powerful play, but even great material can falter in the wrong hands. This production did not. I would like to recognize Audrey Kott, Eliza Vincent and Jordan Whiley — who each brought a distinct energy that made their scenes memorable. More than once, I sat jaw-dropped, and when it was funny, the whole theater let you know.
Sean Dowse’s direction deserves its own spotlight. His ability to balance chaos and clarity, to guide emotion without overplaying it, made this production not only good but unforgettable. At times, the audience was so engaged that not a single chair creaked. At one point, the lights dimmed to change the scene, and I swear everyone blew out a collective breath.
Waterworks' Players has a community feel that’s rare and precious. The production makes me want to go back and watch everything Waterworks produces. The showings of “The Crucible” have ended, but don’t worry, “Jack and Jill” will be presented in early December. I can’t wait to see what’s next, and I hope everyone will be there. I give this production a 5/5.
