While these grievances fuelled by lust, land or long-standing jealousy are the spark, Miller’s masterpiece is underpinned by the notion that it is the systemic rather than the personal that enables the unfolding tragedy.
The rigid application of dogma whether religious or legal, moral or political, is ultimately what damns Salem. The Reverend John Hale, a minister from the nearby town of Beverley with a reputation as an expert on witchcraft, is called upon. Arriving with an arm-full of heavy books, he declares “they are weighted with authority”.
Deputy Governor Danforth, who is to judge the trials, also insists on his authority immediately being recognised. “Do you know who I am?” he demands, before asserting that four hundred people are in jail “upon my signature”. The sinister addition “and seventy-two condemned to hang by that signature” foreshadows the kind of justice he will dispense. To be accused is to be guilty.
Director Lyndsey Turner’s production finds contemporary resonance in how inflexible leadership institutions invariably become a threat to civil liberties.