“Nell’s just a lot” “Nell is so dramatic these days” “Nell, you’re too much for me right now” I dunno like I think it’s just when people say stuff like that they always kinda mean the same thing you know? like what they really mean is just “Nell’s a girl” —NELL in John Proctor Is the Villain As I started making my way out of the theater after John Proctor Is the Villain by Kimberly Belflower at Catholic University, some girls in the seats in the row in front of me were circled up, gathered in a small, hushed hug. They were having a group cry…but not very audibly. I was struck by the image because those girls are who John Proctor Is the Villain is for. The quiet ones who struggle to be heard, the ones angry at the way things are, the ones for whom all they have is each other, those who experience all the messiness of girlhood. The play is about students studying The Crucible in a high school English class amid the beginnings of a feminism club forming and sexual assault allegations that rock their Southern town, including in their own class. Catholic University’s production of this play is earnestly performed and meets the expectations of this contemporary play in a black box theater. It’s a tall order to tackle this play after local young artists may have seen the 2022 Studio Theatre production, and when students may have read it in classes, in a school with a theater program like Catholic’s. Many moments feel palpable with college students close to the ages of high schoolers, feeling like a “smaller Studio” in intimacy and scale. Director Meghan Behm does a wonderful job in this version adding an ensemble to expand the classroom (a choice endorsed by Kimberly Belflower in the script, which makes sense in a college setting where all of this ensemble understudies the main tracks), while still ensuring each scene with the core cast strikes intended chords. Transitions flow quickly, making each new day at school clear. Scene from ‘John Proctor Is the Villain.’ Photo by Ryan Maxwell Photography. Everyone knows what they’re doing and how to do it, making their individual character their own. As Beth, the feminism club’s leader, and the class pet with a crush on their teacher Mr. Smith that she doesn’t want to admit, Maria Wraback crafts a believable “good girl” with brightness and passion. As Ivy, Zoe Bernabe has both an edge and spunk; she’s a joy to watch when doing normal teenage girl things like secretly fawning over Mr. Smith, and when shouldering the complex emotions that come with the discovery of sexual assault allegations against her father. As the preacher’s daughter Raelynn, Nora Johnson brings both ferocity and a blasé “over it” air in confrontations with her ex, Lee (Matthew Riordan, who exudes the awfulness the character calls for, including a moment of sexual assault intimacy choreographed by Bess Kaye). Lady’Jordan Matthews-Mason’s portrayal of Nell, the new girl from Atlanta, has both grit and empathy, and she shines in her scene where she gets together with the clueless but lovable Mason (Joey Depto). In a star turn, Anna Sheehan applies all the right dry wit, snark, and disregard for the patriarchy to the mysterious Shelby. She brings the character with a traumatic past to life well, from the moment she returns to school after an extended absence with awkwardness that is not awkward to witness, to her big reveal at the end of Act 1 that the audience was waiting for, which she performed with committed vengeance. (She was giving Elizabeth Gillies as Jade in Victorious in the best way possible.) Beyond any individual performance, moments where the girls come together with strong emotions shape this production. That’s the classroom scene when Shelby returns and begins stirring up the past with Mr. Smith, where two ensemble girls have the “a student” lines debating whether Abigail Williams was crazy or not crazy that are sometimes Ivy lines; Shelby and Raelynne’s scene reconnecting, drinking Slurpees and being best friends again, with the most insane forms of giggling; the Act 2 feminism club scene where all the girls let out primal screams; and of course, the iconic “Green Light” scene where Raelynn and Shelby have their final project on The Crucible that also serves as a reclaiming stand against Mr. Smith with their classmates. (As much as I can say without giving spoilers, the witchy choreography by Jennifer Hopkins is everything, and having more students in the class creates more contrast than usual in who joins in the dance and who is left sitting. To no surprise, there are fewer boys dancing.) Scenes from ‘John Proctor Is the Villain.’ Photos by Ryan Maxwell Photography. The only bit that seemed to not support this trend of scenes that lived up to expectations was the staging of Beth and Carter’s scene in Act 2. Throughout, Wraback is intriguing to follow because of her lovely natural choices and strong leadership onstage. But Beth actively choosing to comfort her teacher, who has been accused of sexually assaulting her friend, by fully touching his shoulder, then visibly smiling as she left, was such a tonal surprise. Usually, this scene has palpable tension from Beth not knowing if she can trust her beloved teacher who has now fallen from grace, while still choosing to console him in a vulnerable moment. As she gets physically closer to him, the scene loses tension. One might be thrown for a loop. But as the production remains true to the story’s core after that, you can get back on track for the rest of the journey. On the subject of adults Carter and Bailey, casting a grad student for a clearer age gap was a great choice. Benn May as Carter Smith, the teacher, feels like an unassuming, lovable teacher until the end of Act 1. In Act 2, he leans into the vulnerability and doesn’t quite feel like enough of a threat. As Bailey Gallagher the school’s guidance counselor, Grace Stephens initially gives off a bit of an exaggerated depiction but has stronger maturity as she encourages Beth to lead a class and grills Carter about past sexual assault allegations, which is great to see her grow into. Speaking of growth, some other caveats include that the “South” of it all could have been worked a bit more. There were some spotty accents throughout and more “oo” and “ee” vowels could have been worked, though Sheehan as Shelby and Wraback as Beth showed to be the best. But the heart was still there. And a college theater department doesn’t have everything a regional theater would; we still see some actors finishing making their exits offstage with the way the set is built. But largely, the tech was done very well, especially the fluorescent lighting by Jason Aufdem-Burke, the smartly chosen pop music–filled soundscape created by Ian Vespermann, and the colorful, ever-changing costumes for each scene by Stephanie Parks. With all the hype around John Proctor Is the Villain because of the upcoming Broadway production featuring Sadie Sink, it’s important to remember that at its core, this play is for the young audiences for whom it matters a whole lot. In a month following the election with high emotions, it is clear that these students have latched onto this show’s themes and are truly running with them. Go to laugh, go to cry, go to rage it out, go to feel what it’s like to be a young person during this time. Running Time: Two hours 20 minutes including one intermission. John Proctor Is the Villain plays through November 24, 2024, at Catholic University’s Callan Theatre, 3801 Harewood Rd NE, Washington, DC. The next performances are Saturday, November 23, at 2 and 7:30 p.m. and Sunday, November 24, at 2 p.m. Purchase tickets ($10–$25) online. CONTENT WARNING: This production explores a variety of challenging topics, including staged depictions of sexual violence. This show is not recommended for audience members under 14 years old. John Proctor Is the Villain By Kimberly Belflower CAST Carter Smith: Benn May Shelby Holcomb: Anna Sheehan Beth Powell: Maria Wraback Nell Shaw: Lady’Jordan Matthews-Mason Ivy Watkins: Zoe Bernabe Raelynn Nix: Nora Johnson Mason Adams: Joey Depto Lee Turner: Matthew Riordan Bailey Gallagher: Grace Stephens Ensemble: Andrew Annicharico (u/s Carter, Lee), Holly Bruchalski (u/s Shelby, Bailey), Mary Stovenour (u/s Beth), Alexa Palena (u/s Ivy, Raelynn), René Cathelineaud (u/s Mason) PRODUCTION TEAM Director: Megan Behm Set Designer: Megan Holden Lighting Designer: Jason Aufdem-Brinke Sound Designer: Ian Vespermann Costume Designer: Stephanie Parks Fight & Intimacy Coordinator: Bess Kaye Choreographer: Jennifer Hopkins Stage Manager: Allison Howlett Assistant Stage Manager: Luke Plunkett Dialect Coach: Melissa Flaim