“I’ll tell you what’s walking Salem – vengeance is walking Salem.”
So says John Proctor, doomed hero of The Crucible. It’s the line that most succinctly sums up what is really happening in Arthur Miller’s eternally relevant 1953 play (set amid the hysteria of the 1692 witch trials in Salem, Massachusetts, but famously an allegory of the tyranny of the mid-20th-century McCarthyite “witch hunts”). And it is also a line that seems to hang invisibly in the air from the very start of choreographer Helen Pickett’s confident new adaptation of the play for Scottish Ballet, here getting its world premiere at the Edinburgh International Festival.
It launches with an episode that is not in the play, but...
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