Review: JOHN PROCTOR IS THE VILLAIN - Royal Court Theatre (11/04/26)

Full of youthful exuberance, ecstasy, agony and rage, a true masterpiece by Kimberly Belflower

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Take a classroom of teenagers in rural Georgia, USA, give them an assignment to study and reevaluate Arthur Miller’s play “The Crucible”, throw in a healthy smattering of power dynamics, feminine fury and sexual politics, and what you end up with is probably one of the most authentic, intelligent new plays in recent years. This is largely driven by its comprehensive, unfiltered exploration of what it's like to be a teenage girl in a world full of predators, misogyny, and patriarchal ideals that often ostracise, even mistrust abuse victims.

Set in 2018 in a small, unassuming town somewhere in the Peach State, the action follows a class of seven high school students, primarily focussing on the five young women in the group, led by principal protagonist Shelby, as they, whilst studying the aforementioned text, begin to pick apart the traditionally assumed hero status of its main figure John Proctor, approaching the evaluation of his character from a more modern, feminist standpoint. Though the discussion of Miller’s text and its themes are central to the plot of “John Proctor is the Villain”, what becomes abundantly clear over time is the seemingly boundless intellect and complexity of Belflower’s writing, as she peels away layer upon layer of subtext, and constantly shifts our perspective on whom the true antagonist of this particular story really is.

Sadie Soverall and Miya James (credit: Camilla Greenwall)

Whilst the central connective device is "The Crucible" itself, the ultimate catalyst for this story is the formation of a feminist club, an idea initially snubbed due to the historically old-fashioned, dogmatic persuasion of small town living in southern states. However, when this is given the green light by the enormously charming English teacher Mr Smith, this is the moment when the sharing of stories, experiences, and tales of woe from the young girls' lives really begin to shape the narrative.

The direct parallels drawn between the main action, the text being studied, and the historical events on which this is based, gradually make themselves known, as do the starkly and uncomfortably tangible comparisons made between Proctor's actions and those of Smith with relation to past wrongdoing. The writing itself, in spite of its innate intellect, still remains remarkably grounded and real, as Belflower and director Danya Taymor have managed to perfectly capture the various inflections, mannerisms, micro-expressions and turns of phrase that are so synonymous with modern day high school girls.

This is also a shining endorsement of the cast tasked with bringing these young women to life, as they more than rose to the challenge, showcasing expertly every corner of the emotional spectrum in the space of just under two hours. Clare Hughes is the perfect Ivy, showing us the character's internal conflict, between her loyalty to her friends, and defence of her father accused of sexual misdemeanour. Holly Howden Gilchrist as Beth is always an endearing presence, whilst Lauryn Afujo displays terrific gumption and street smarts as city girl Nell, providing her cohorts with a wildly different perspective to their comparatively sheltered upbringings.

(L-R) Miya James, Holly Howden Gilchrist, Lauryn Ajufo, Clare Hughes (credit: Camilla Greenwall)

Donal Finn is no stranger to playing the enchanting male lead with no shortage of boyish charm, and this is a marvellously layered and mature performance as Mr Smith, allowing his character's charismatic mask to slip away over time superbly, and slowly revealing the manipulative undercurrent. It's the enduring, sorely tested friendship between Shelby and Raelynn, though, that is the beating heart of this play, and proves pivotal to the story. This is especially potent in the climactic, cathartic interpretive dance presentation scene, during which Sadie Soverall and Miya James's already exquisite performances are elevated, as we feel every iota of anger, euphoria and defiance from their characters, fuelled by pure adrenaline and proving a fitting finale to, arguably, one of the most raw, relevant new shows you'll see all year.

As a critic, it is never a simple task to put your thoughts into words when a piece of theatre is so visceral, so emotionally and thematically challenging, and so unabridged in its intentions and execution of tackling such difficult subject matter. That is exactly the effect that Belflower's writing has on audiences in this breathtaking, at times truly shocking new piece, that opens up important conversations about sexual assault, the culture of victim blaming, and inbuilt societal advantages for those in authority over those who seek justice against them. Believe the hype, this is one of the plays of the decade!

★★★★★ (5*)

"John Proctor is the Villain" runs at the Royal Court Theatre until the 25th of April, and is currently sold out - check the venue's website for returns/£15 Monday tickets (more info)

{PR/Gifted ticket}