Emmanuel Demarcy-Mota lets a great cry against intolerance ring out.
The plague of rumor, of “post-truth”— here, the invasion of witches—devastates a city overcome by a puritan impulse, with the support of a court of law. People are denounced, people are hanged. A woman driven by a desire for vengeance is taken at her word. People extol the virtues of Good versus Evil. This was in 1692, in Massachusetts, a dark chapter in the colonial history of the United States; this was in the 1950s, during the McCarthyist frenzy of which Arthur Miller was a victim. Because history can always repeat itself, because intolerance and shameful blindness are at our door, Emmanuel Demarcy-Mota returns to the approach he took with Ionesco’s Rhinocéros and Camus’s L’État de Siège, directing his troupe on a vast stage to cast a new light on this fierce American play once adapted for the stage and screen by Raymond Rouleau with Yves Montand and Simone Signoret. The French premiere took place at the Théâtre Sarah Bernhardt in 1955. Sometimes it’s good to look back.
Text Arthur Miller direction Emmanuel Demarcy-Mota
direction Assistant Christophe Lemaire set design Yves Collet Lights Yves Collet & Christophe Lemaire Costumes Fanny Brouste Music Arman Mélies sound design Flavien Gaudon video design Mike Guermyet Make-up Catherine Nicolas props Christophe Cornut artistic advisor François Regnault direction 2nd Assistant Julie Peigné
with Élodie Bouchez, Serge Maggiani, Sarah Karbasnikoff, Philippe Demarle, Sandra Faure,Jauris Casanova, Lucie Gallo, Jackee Toto, Marie-France Alvarez, Stéphane Krähenbühl, Éléonore Lenne, Gérald Maillet, Grace Seri, Charles-Roger Bour