John Proctor is the Villain at Wyndham’s Theatre

At a rural Georgia high school, in the wake of the #MeToo movement, an English class study The Crucible, as allegations of sexual misconduct arise within the community. Upon analysing the classic American text, it becomes clear that the “heroic” male protagonist is not as sympathetic as the pupils had been taught to believe, calling into question other accepted truths. Marking not only the 70^th anniversary of the Royal Court Theatre, but 70 years since The Crucible made its English debut at the same location, the seven Tony Award-nominated play is a phenomenal exploration of challenging patriarchal narratives and a celebration of female friendship.

During an interview on the Royal Court Playwright’s Podcast, the show’s writer Kimberly Belflower described wanting to explore “what it would feel like to be coming of age in a moment where it feels like the whole culture is shifting”. Set in 2018, a group of teenage girls decide to create a Feminism club, in which they strive to “spread awareness, foster dialogue and ignite change”, but this is met with reluctance by their school guidance counsellor, who warns them that “tensions are high” and fears it will alienate the boys.

The performances are all outstanding, and the teenage friendships are played with relatable tenderness and hilarity, with numerous laugh-out-loud moments throughout an uninterrupted one hour 50 runtime. Alongside Belflower’s wonderful script, some of the most affecting scenes contain no words at all. There is a beautiful moment where best friends Shelby and Raelynn begin laughing hysterically together, with a unique intimacy only teenage girls can share. Almost crying, almost screaming, the play perfectly depicts this delicate balance of emotions throughout. Danya Taymor’s direction is particularly clever with the use of lighting, as following poignant interactions, the young women are individually illuminated, again examining their internal worlds in a way that words cannot.

It is hard to remember another play eliciting such a multitude of emotions in its closing few minutes. The choreographed dance sequence to Lorde’s 2017 hit Green Light ingeniously encompasses the multifaceted female experience in a way that is simultaneously devastating, hopeful, euphoric and empowering. As the beat intensifies and the volume increases, repressed emotions previously simmering beneath the surface defiantly bubble and boil to an explosive climax. The sequence appoints them an outlet for self-expression in a way that only the medium of dance can, and articulates the ineffable in a viscerally rousing, punch-the-air catharsis. The women are given a voice which has hitherto been denied them, unique to their story yet also universal; it feels like they are dancing for women everywhere, and there is an overwhelming urge to jump up on stage and join them. It’s joyous, it’s feral, it’s a guttural feminist battle cry.

Following its sold-out run at the Royal Court Theatre, John Proctor is the Villain has been given the green light for its West End transfer, as this is absolutely essential viewing for today’s generation. It’s an urgent reminder that while a deep-rooted culture cannot be eradicated, the strength of individual rebellion, and indeed that of teenage girls, must not be underestimated.