THEATER REVIEW:

Few theatrical projects are so daunting and blessed with potential rewards as Arthur Miller’s “The Crucible,” the searing ’50s drama that places immense demands on its actors and audience.

Written during the period of the Communist witch hunts by Sen. Joseph McCarthy and others, the play draws frightening comparisons to that earlier society in which mass hysteria and guilt-by-accusation prevailed. Except that in 1692, the term “witch hunts” was taken quite literally.

History records the names of those citizens of Salem, Mass., who were hanged as witches, the victims of religious fanatics and devilish young women who accused them. In “The Crucible,” Miller uses these real people as his characters, spinning a terrifying and largely accurate account of the period while drawing sharp parallels to the then-current atmosphere.

Vanguard University and esteemed director Susan K. Berkompas have taken this explosive drama and rendered a passionate revival. Ensemble excellence prevails, topped by individual triumphs.

At the core of any production of “The Crucible” is its John Proctor, the short-fused farmer devoted to his family and filled with self-loathing for his brief affairs. Aaron Campbell attacks this role with a fervent determination and boiling frustration in a superb performance.

As his honest-to-a-fault wife, Elizabeth, Rebekah Ehrich builds her character more deliberately until she peaks in the wrenching final scene. Bethany Lomas enacts the vixenish Abigail Williams, spurned after coming between them, with a vengeance that climaxes in a horrific courtroom clash.

Two other performances stand out in an overall excellent cast. Andrew Christensen seethes as the self-obsessed town minister, and Mike Bower basks comfortably in his role as an elderly, litigious farmer who gleans whatever chuckles there are to be found in Miller’s script.

Tim Larson exudes power and prestige as the deputy governor conducting the trials. Carlos Fernandez wrestles with two dimensions of his character as a visiting clergyman and Jennifer Nelson delves deep into her soul for a frightening rendition of a teenage girl held in thrall by the calculating Abigail.

The servant from Barbados whose sylvan rituals set off the witch hunt is richly enacted by Donna Johnson. Chelan Glavan impresses as a wise old woman also accused of witchery. Rene Scheys is effective as an embittered farmer.

In addition to his superior performance as the Rev. Paris, Christensen doubles as scenic designer, creating an ominous backdrop draped, in the final scene, with a hangman’s nooses. David Pecoraro’s eerie lighting effects also contribute markedly to the mood of impending death.

The real tragedy of Vanguard’s “The Crucible” is that this estimable production is on stage for only one more weekend in the Lyceum Theater. Such an artistic achievement deserves a much longer engagement.

IF YOU GO

WHAT: “The Crucible”

WHERE: Vanguard University, 55 Fair Drive, Costa Mesa

WHEN: Closing performances tonight & Friday at 8 p.m., Saturday at 2 & 8, Sunday at 2 p.m.

COST: $10

CALL: (714) 668-6145

‘Twelve Angry Men’ still stirs emotions

More than a half-century ago, Reginald Rose’s “Twelve Angry Men” first riveted devotees of television drama in living black and white as it traced the heated jury deliberations over the fate of a teenage boy accused of murdering his father.

The subsequent movie version — with Henry Fonda, Lee J. Cobb and a powerful supporting cast — ensured its place among cinema classics.

And now, a dynamic revival has become the first non-musical production to play the Orange County Performing Artcenter’s Segerstrom Hall in its first three decades.

While some dialogue has been added for purposes of character amplification, this is the same “Twelve Angry Men” that flickered across TV screens on Studio One back in 1954. And while Richard Thomas, in the Fonda role of the lone “not guilty” holdout, is billed above the title, this remains a true ensemble production, as evidenced by the group curtain call.

The play is, now as then, set during the steamy New York summer of 1954, but don’t look for evidence of its being dated. The issues argued, often heatedly, could be debated today.

A man has been slain, his young son accused, and all the evidence seems to confirm his guilt. Yet one juror’s reasonable doubt spurs changes of heart until the verdict most playgoers remember is rendered.

Thomas, best remembered for his John-Boy Walton role on TV 35 years ago, still projects a boyish enthusiasm even deep into his 50s. This idealistic strain underscores his passionate performance as the lone voice of doubt in a chorus of condemnation.

Julian Gamble, a physically dominant actor, makes a strong adversary as the chief advocate of guilt. Only in his final moments of capitulation are his actions less than frighteningly believable.

Probably the strongest force among the 12, and the blackest heart, is Kevin Dobson’s pugnacious, bigoted character whose rant against “those kind” repels fellow jurors. Jeffrey Heyenga is a calming contrast as the stockbroker dealing with hard facts.

Alan Mandell inserts some needed humor, however poignant, as the elderly juror whose perception outstrips that of his peers. Mark Morettini rages in a largely stereotypical role as an impatient Yankees fan with game tickets burning a hole in his pocket.

Staunch support is provided by jury foreman Mike Boland and other panel members — Todd Cerveris, Thomas Gebbia, Charles Borland, David Lively and Tony Ward. Skillful direction by Scott Ellis maintains the necessary balance in this animated situation.

IF YOU GO

WHAT: “Twelve Angry Men”

WHERE: Orange County Performing Artscenter, 600 Town Center Drive, Costa Mesa

WHEN: Tuesdays through Fridays at 7:30, Saturdays at 3 & 7:30, Sundays at 1 & 6:30 until March 9

COST: $15 - $65

CALL: (714) 556-2787

TOM TITUS reviews local theater for the Daily Pilot. His reviews appear Thursdays.