The Crucible is a 1953 play by the American playwright Arthur Miller. It is a dramatized and partially fictionalized story of the Salem witch trials that took place in the Massachusetts Bay Colony during 1692–93. Miller wrote the play as an allegory for McCarthyism, when the United States government persecuted people accused of being communists. Miller was questioned by the House of Representatives' Committee on Un-American Activities in 1956 and convicted of contempt of Congress for refusing to identify others present at meetings he had attended.
John Proctor was a landowner in the Massachusetts Bay Colony. He and his wife Elizabeth were tried and convicted of witchcraft as part of the Salem Witch Trials, whereupon he was hanged.
The New York City Opera (NYCO) is an American opera company located in Manhattan in New York City. The company has been active from 1943 through its 2013 bankruptcy, and again since 2016 when it was revived.
John Hale was the Puritan pastor of Beverly, Massachusetts, and took part in the Salem witch trials in 1692. He was one of the most prominent and influential ministers associated with the witch trials, being noted as having initially supported the trials and then changing his mind and publishing a critique of them.
The Crucible is a 1996 American historical drama film directed by Nicholas Hytner and written by Arthur Miller, based on his 1953 play of the same title. It stars Daniel Day-Lewis as John Proctor, Winona Ryder as Abigail Williams, Paul Scofield as Judge Thomas Danforth, Joan Allen as Elizabeth Proctor, and Bruce Davison as Reverend Samuel Parris. Set in 1692 during the Salem witch trials, the film follows a group of teenage girls who, after getting caught performing a ritual in the woods, band together and falsely accuse several of the townspeople of witchcraft.
The Crucible is a 1957 French-language historical drama film directed by Raymond Rouleau with a screenplay adapted by Jean-Paul Sartre from the 1953 play The Crucible, by Arthur Miller.
Patricia Neway was an American operatic soprano and musical theatre actress who had an active international career during the mid-1940s through the 1970s. One of the few performers of her day to enjoy equal success on both the opera and musical theatre stages, she was a regular performer on both Broadway and at the New York City Opera during the 1950s and 1960s.
Chester Ludgin was an American operatic baritone.
Richard Cassilly was an American operatic tenor who had a major international opera career between 1954–90. Cassilly "was a mainstay in the heldentenor repertory in opera houses around the world for 30 years", and particularly excelled in Wagnerian roles like Tristan, Siegmund and Tannhäuser, and in dramatic parts that required both stamina and vocal weight, such as Giuseppe Verdi's Otello and Camille Saint-Saëns's Samson.
Cultural depictions of the Salem witch trials abound in art, literature and popular media in the United States, from the early 19th century to the present day. The literary and dramatic depictions are discussed in Marion Gibson's Witchcraft Myths in American Culture and see also Bernard Rosenthal's Salem Story: Reading the Witch Trials of 1692
Joy Clements was an American lyric coloratura soprano who had a substantial opera and concert career from 1956 through the late 1970s. She notably sang regularly with both the New York City Opera and the Metropolitan Opera during the 1960s through the early 1970s. She also traveled regularly for performances with opera companies and orchestras throughout the United States but only appeared in a relatively few number of performances internationally.
Richard Cross is an American bass-baritone who had an active international opera career from the late 1950s through the 1990s. Possessing a rich and warm voice, Cross sang a broad repertoire that encompassed works from a wide variety of musical periods and styles. He currently teaches on the voice faculties of the Yale School of Music, the Juilliard School, and the State University of New York at Stony Brook.
Norman Kelley was an American operatic tenor who had an active international career during the 1940s through the 1970s. He was notably a regular performer at the Metropolitan Opera between 1957 and 1961, and he sang in several world premieres with the New York City Opera. He also notably translated Engelbert Humperdinck's Hänsel und Gretel into English, a version first performed in 1967 and used by opera companies to this present day.
Frances Lillian Bible was an American operatic mezzo-soprano who had a thirty-year career at the New York City Opera between 1948 and 1978. She also made a number of opera appearances with other companies throughout the United States, but only made a limited number of appearances abroad. Martin Bernheimer wrote in Opera News that, "Frances Bible was cheated by destiny. She never quite achieved the international recognition she deserved. Bible had it all—a mellow, wide-ranging mezzo-soprano, an attractive stage presence, genuine theatrical flair, a probing mind and a technique that allowed her to sing bel-canto filigree one night, Verdian drama the next. She was one of the rare American singers who savor the English language. She understood the value of economy, never stooping to easy effects. Perhaps she was too versatile, too tasteful and — dare one say it? — too intelligent for her own good."
Eunice Alberts (1927–2012) was an American contralto who had an active career as a concert soloist and opera singer during the 1950s through the 1980s.
Regina Sarfaty, later Regina Sarfaty Rickless after her marriage to Elwood A. Rickless in 1963, is an American operatic mezzo-soprano who had an active career during the 1950s through the 1980s. Sarfaty first rose to prominence through her work at the Santa Fe Opera and the New York City Opera during the late 1950s. She later enjoyed international success in the 1960s and 1970s, and had a particularly lengthy career singing with the Zurich Opera.
Paul Ukena was an American operatic baritone and musical theatre actor who had an active career from the 1940s through the 1970s. After beginning his career entertaining American troops as a part of the Special Services during World War II, his first critical success was as the baritone soloist in the American premiere of Frederick Delius's Requiem in 1950. He was one of the founding members of the NBC Opera Theatre, a company he performed with throughout the 1950s in such productions as Benjamin Britten's Billy Budd and the world premiere of Norman Dello Joio's The Trial at Rouen.
Lee Venora is an American operatic soprano and musical theater actress. She was highly active with the New York City Opera between 1957 and 1967 and a regular performer at the San Francisco Opera between 1961 and 1966. She also appeared in a few Broadway musicals, Lincoln Center revivals, and national tours of musicals during her career. Composer and conductor Leonard Bernstein was an admirer of her voice, and she performed with him and the New York Philharmonic on a number of occasions during the late 1950s and early 1960s. She also sang with the orchestra on a couple of recordings and appears on a few musical recordings as well.
Débria M. Brown was an American operatic mezzo-soprano who had an active international career that spanned five decades. She was part of the first generation of black opera singers to achieve wide success and is viewed as part of an instrumental group of performers who helped break down the barriers of racial prejudice in the opera world. She also worked occasionally as a dramatic actress on the stage and on television.
David Anthony Stuart Atkinson was a Canadian baritone and New York Broadway actor/singer. Most of his career was spent performing in musicals and operettas in New York City from the late 1940s through the early 1970s, although he did appear in some operas and made a few television appearances. In 1952 he created the role of Sam in the world premiere of Leonard Bernstein's Trouble in Tahiti. From 1956-1962 he was a leading performer at the New York City Opera where he starred in several musicals and appeared in the world premieres of several English language operas. His greatest success on the stage came late in his career: the role of Cervantes in Man of La Mancha which he portrayed in the original Broadway production, the 1968 national tour, and in the 1972 Broadway revival.
