As we enter the unadorned barn-like space of Lisner Auditorium, we are transported immediately to the harsh gray world of early New England by the weathered wood siding of Neil Patel’s spare and fluid set. A narrow bed defines a bedroom where a young girl has fallen comatose with a mysterious ill ness; a plain rectangular table establishes a kitchen in the family Proctor’s farmhouse; a few long backless benches define the court scenes. The year is 1692, and we are in Salem, Massachusetts. The very air seems chilly, colorless, and unforgiving. No wonder young girls, entering the “silly times” of adolescence, escape to the woods in the dead of night to dance, cavort, and even engage in a little “conjuring.” But their antics and playacting turn deadly as they seize attention and control in this powerful, cautionary tale of The Crucible. The mid-20th-century opera by composer Robert Ward with libretto by Bernard Stambler was based on Arthur Miller’s 1953 play and won a Pulitzer Prize for Music in 1962. Washington National Opera presents the opera as part of an American triptych of music-theater works in its 70th anniversary season, and the story seems particularly resonant. Just as Miller used his play to confront the “red scare” of communism and Joe McCarthy’s manipulation of national hysteria, so we find ourselves once again whipped up and dangerously polarized, and our civil decency and democracy itself seem at stake in a new reign of would-be tyranny. J’Nai Bridges as Elizabeth Proctor with Ryan McKinny as John Proctor in ‘The Crucible.’ Photo by Scott Suchman. At the center of this production are two stunning performances by artists at the top of their game. J’Nai Bridges and Ryan McKinny fully inhabit the roles of Elizabeth and John Proctor, who are basically good people but whose goodness goes on trial. John struggles to disentangle himself from a former sexual relationship with the young serving girl Abigail, recently dismissed from their household, while Elizabeth, accused of witchcraft by the vengeful Abigail and carted off to jail, must come to terms with her own culpability, emotionally withholding from her husband, and her long inability to forgive him for straying from their marriage bed. The tension is stunning. Bridges holds her arms close to her body, hands clasped in Puritan modesty, demonstrating reluctance to emotionally engage, while her gorgeous mezzo voice soars, showing her character’s longing for love and range of other pent-up feelings. McKinny has never been better. He fills the stage with his presence as a brooding New England farmer, whose poetic sensibilities nonetheless come to the surface as when he voices an appreciation of spring. The trajectory of their relationship is fully realized  — musically in their solos and duets, and dramatically through to the heartbreaking conclusion. Artistic Director Francesca Zambello directs and keeps the dramatic thrust moving forward, understanding that mass hysteria tears through a community like wildfire. There’s no time to take stock and reconsider options. She gives us a quintessential American story and makes every moment emotionally riveting. There is much beautiful music throughout, ably conducted by Robert Spano. He brings out Ward’s character motifs and jazz influences in both the orchestra and the singers. Particularly stirring is Ronnita Miller as the enslaved islander Tituba, singing of her longing to fly and escape the cold and cruel world to which she has been consigned. At one point, her mezzo deepens to contralto and solo becomes a trio with lovely vocalises from Michelle Mariposa and Tiffany Choe, who play two village women trapped on opposing sides of the conflict. Choe plays Ann Putnam, who gets involved in fanning the gossip and lies. Mariposa plays Rebecca Nurse, one of the 20 people executed in the Salem witch trials. She would not accuse others; she and John Proctor would not name names. Their strength of character and heroism cost them their lives. TOP: Betty Parris (Veronica Siebert) lies in bed; Abigail Williams (Lauren Carroll) offers support. ABOVE: Villagers try to support Betty Parris (Veronica Siebert), who they fear is a victim of witchcraft, in ‘The Crucible.’ Photos by Scott Suchman. Lauren Carroll as Abigail Williams, the young temptress and ringleader of the girls, attacks her role with passion and a compelling soprano sound. In the opera, Abigail is more manipulator than victim, and it is reported at the end that she escapes Salem and any retribution. She is certainly as careless and therefore recognizably modern. Kresley Figueroa as Mary Warren is mightily convincing as one compelled by both sides to testify. With her childlike physicality and high coloratura that can be sweet, acquiescent and birdlike one moment then hysterically demonic the next, she is the primary instigator in the shifting plot. Tenor Chauncey Packer leads the courtroom proceedings as the historic Judge Danforth, a character as hard-ass controlling as they come. Packer has the gravitas and displays an enormous vocal range. Some of the males in the cast (Chandler Benn and Joshua Dennis) add grist to the subplot of how entangled in the witch trials was the land grab of greedy wealthier citizens to expand their holdings by executing some of their neighbors. There is also the tension caused by the new Reverend Parris (Alexander McKissick), who has not been accepted as yet in the community. Every singer contributes to the storytelling, a mark of a Zambello production. As the director wrote in the program notes, “The Crucible is a work that shows us the importance of protecting individual rights and the dangers of fear, ignorance, and intolerance in society.” It is also a standout opera of the 20th century, and there is no more important time to see a production as this time in this place. And there are only a handful of performances left this week! Running Time: Approximately two hours and 30 minutes, including one intermission. The Crucible plays through March 29, 2026, presented by Washington National Opera at the George Washington University Lisner Auditorium, 730 21st St NW, Washington, DC. Purchase tickets ($87.70 —$200) online. Download the program here. ...read more read less