ROBERT WARD The Crucible (Libretto by Bernard Stambler, based on the play by Arthur Miller) PURCHASE OPERA PURCHASE SYMPHONY Jacque Trussel Hugh Murphy Artistic Director Conductor The Crucible Music...... Robert Ward PROGRAM NOTE...... John Ostendorf Libretto...... Bernard Stambler It is amusing to learn that playwright Arthur (based on the 1952 Arthur Miller play) Miller (1915-2005) first considered making The Conductor...... Hugh Murphy Crucible an opera libretto, but was talked out Artistic Director...... Jacque Trussel of it by composer-friend Mark Blitzstein. In- CAST: John Proctor...... Bryan Murray stead, Miller created perhaps his most power- Elizabeth Proctor...... Rachel Weishoff ful stage play in 1953. It was inspired by the Abigail Williams...... Sylvia D’Eramo McCarthy witch-hunt of the 50s, during which Judge Danforth...... Joshua Benevento Miller himself was summoned in front of the Reverend Hale...... Colin Whiteman House Un-American Activities Committee and Reverend Parris...... Ryan Capozzo cited for contempt of Congress when he re- Rebecca Nurse...... Iris Rogers fused to finger potential Communists in the Mary Warren ...... Soraya Karkari arts in this country. Tituba...... Cara Collins Robert Ward (1917-2013), Cleveland born Giles Corey...... John Downey and Eastman School of Music and Juilliard- Ann Putnam...... Derya Kayaalp trained, a student of Aaron Copland and a Thomas Putnam...... Christopher Jones WWII veteran, was deeply moved by Miller’s Ezekiel Cheever...... Jacob Rivera play. Many of Ward’s subsequent stage works Francis Nurse...... Philip Monrian were political in theme, the four-act Crucible Sarah Good...... Caroline Homer most of all. It was commissioned by the New Betty Parris...... Sarah Catherine Hook York City Opera in 1961, funded by a grant SALEM GIRLS: Caroline Homer, Emma Nicholson, from the Ford Foundation. Based directly on Emma Lyons-Wilcox, Lydia Brown, Alexa Rosenberg, the Miller play, with a new English libretto by Harper Stevenson American collaborator Bernard Stambler, the CHORUS: Soprano I: Summer Bugbee, Noelle Carlson, Julianne Casey, Milleta Oldick, Deja Robinson, Natasha opera won the Pulitzer Prize and a New York Scheuble, Brianna Weckerly. Soprano II: Rosemarie Music Critics Circle Citation. Albanese, Alexandra Bassin, Kristelyn Blough, Nadia Composers Recordings, Inc. released the Duncan, Erica Liburd. Alto: Miatasha Gonzalez-Colon, opera in the months after the premiere with Maria Kolomiets, Faith Shiber-Cochran. Men: Daniel Im, Kevin Jasaitis, Alexander Kagan, Zachary Marshall, most of the original American cast; the LP Brandon Roque, Kendall Styers, Brandon Vernon included baritone Chester Ludgin and mezzo ✧2✧ Frances Bible in the starring roles and Patty Brooks as the lascivious Abigail Williams. The only significant absentee was bass Norman Treigle: one can only imagine what that superb artist would have brought to the wierd, Gothic role of Reverend Hale. I was a singer in an earlier artistic incarnation and knew and appeared with some of those NYCO artists later in their careers. But I was also a fan: I vividly remem- ber being bowled over by what must have a Robert Ward (1917-2013) Arthur Miller (1915-2005) been a revival of the original City Center Cru- cible production in New York City Opera’s new home at Lincoln Center when I was in college. And, of course, we all grew up with that powerful CRI recording with Emerson Buckley. Later I worked with Robert Ward, recorded his Roman Fever about ten seasons back and then talked with him in North Carolina just before his death about recording an opera he’d written for Ohio Light Opera. I found him a gifted and realistic composer, alert to what could and couldn’t be managed. He wistfully remarked his desire to have a modern recording of The Crucible— nearly 50 years, he said, was long enough. Susan Bush of Albany agrees—her record label now handles the CRI original, but she’s enthusiastic about our new project. Purchase Opera, with its deep roster of fine young professional singers and its collaboration with the Purchase Symphony and conductor Hugh Murphy, is well into its second decade now. It has received multiple awards from the National Opera Asso- ciation and Classical Singer Magazine for adventurous programming. It proved just the right fit for a new CD of the Ward opera. My recording collaboration with Jacque Trussel, Hugh Murphy, Bonnie Hamilton and Margaret Vignola extends back a decade: we recorded Lee Hoiby’s The Tempest just before that composer’s passing. As fellow singers, Jacque Trussel, Bonnie and I go way back: I remember Jac as a fearless and impassioned singer/actor—a gorgeous dark tenor voice with marvelous acting chops. Although he sang many traditional roles at the Met and everywhere, his speciality was unusual, dramatic tenor roles in which he lit up the stage. No wonder he was drawn to Ward’s The Crucible. ✧3✧ Jacque Trussel, Artistic Director Margaret Vignola, Project Coordinator Bonnie Hamilton, Recording Consultant Conductor Hugh Murphy was fiercely committed to the Ward score and has been enormously helpful in assembling this recording. He writes: “A crucible, according to The American Heritage TM Science Dictionary is ‘a heat-resistant container used to melt ores, metals, and other materials.’ The word also denotes ‘a severe, searching test, ordeal, or trial.’ I have used a crucible in a metal working studio and have experienced the transformation that metals undergo as they change from solid to liquid. They do not melt slowly, like ice does. Instead, when heated, they change color, begin to glow, turn bright, fiery, orange-red. Finally, when their internal temperature becomes high enough, they suddenly—dramatically and completely—transcend their solid state and in an instant become molten liquid. In service of Arthur Miller’s play, composer Robert Ward has created an opera that is a musical crucible. “The plot and characters of The Crucible share many aspects with those of Richard Strauss’ Salome. Ward, perhaps inspired by Strauss’ music for Salome, systematically employs idiosyncratic harmonic language and melodic motifs to create distinct musical landscapes for each of the opera’s characters. These landscapes reveal much about each character, some- times even more their words do. The conflicts between these historically real characters had life-or-death consequences and preclude them from living together in harmony; consequently, ✧4✧ the music of the opera alternates rapidly between highly opposing styles. In what appears to me to be an intentional act of compositional alchemy, Mr. Ward unifies these disparate landscapes into a single musical entity. “From its initial measure, the opera is haunted on struc- tural, harmonic, and melodic levels by the unnatural raised fourth degree. This “witch note” appears and disappears throughout the opera in direct relation to the concept of witches, driving the music into distant keys, and creating melodies that fly with odd and surprising twists and turns. As the plot unfolds, enormous pressure is applied to the soul of the principal character John Proctor, until, at the dramatic Hugh Murphy , Conductor climax of the opera, he must decide either to sign a confession stating that he is in league with the Devil or face hanging. In what I refer to as the ‘crucible moment,’ Proctor realizes that he can give up his life in order to retain his personal integrity. Within the space of two measures, the heat applied to his soul has finally raised his internal temperature high enough that he must transcend to a new state of existence. Like metal in a crucible, in one moment, he becomes liquid and can face, accept, and even choose his own death. At this same moment, the musical language of the opera transcends its chromaticism; the unnatural fourth degree melts to the natural fourth degree and resolves classically, down to the major third degree. John’s soul has overcome his resis-tance to death, and the opera concludes in a purified, liquid C Major. “In performance, we omitted the brief Act IV, scene 2, in which Abigail attempts to rescue John Proctor from prison. This scene is not in Arthur Miller’s play. It was written by Ward’s librettist to heighten the romantic relationship between Abby and John. In both actual history and the play, Abigail entirely disappears after the courtroom scene, which we feel is a more powerful choice.” Our recording derives from the acclaimed Spring 2016 stage performances at Purchase. Although Bob Ward could not hear them or the resulting recording, I trust he’d be glad to finally have an “update” for his wonderful opera.

✧5✧ PLOT SYNOPSIS ACT III: Outside the Parris house. Abby secretly Salem, Massachusetts, 1692 meets John, asks him to abandon his wife for ACT I: The house of Reverend Parris. Parris and her. Proctor indignantly refuses and calls her niece Abigail kneel at the bedside of daughter a monster. She defies him, and threatens Betty who is unconscious. Rumors of witchcraft Elizabeth’s life. As the day’s Court session are rampant in the town. Neighbors arrive and opens, Proctor presents to Judge Danforth Mary report that their own daughter is also stricken. Warren’s testimony that Abigail and her Other Salem farmers, including John Proctor enter accomplices are frauds. Proctor admits his own and a dispute breaks out about witchcraft being lechery with Abigail, calling her a whore, thus the cause of the girls’ malady. Reverend Hale, an explaining his wife’s antipathy to the girl. expert on the subject, has been summoned. He Elizabeth is summoned, but cannot admit her questions Parris’ slavegirl Tituba whom Abigail husband’s infidelity, which makes him seem a accuses of inciting the girls. Under heavy inquiry, liar. Abigail and the Salem girls then strike, Tituba “confesses” that she has spoken with the attacking Mary Warren as a traitor. In the Devil. This seems to break the “spell” over Betty general hysteria, Mary recants, accusing John and all rejoice in a hymn. Proctor of Devilish lechery. He is led off to prison in chains. ACT II: John Proctor’s farm. Proctor argues with his wife Elizabeth over their dismissed servant ACT IV. The Salem jail. Tituba sits in a cell, Abigail, whom Proctor has seduced. Abigail is dreaming of her home island of Barbados. now falsely claiming to Boston Judge Danforth The Salem notables arrive, hoping to convince that many women in Salem are guilty of witch- Judge Danforth to delay Proctor’s hanging. craft. Elizabeth begs her husband to go to the Danforth is resolute, but asks Elizabeth to court and expose her. Mary Warren, the Proctor’s convince Proctor to “confess,” and thereby servant girl, has been to Salem as one of Abby’s save his life. Alone with his wife, John Proctor witchfinders. She reports that many are already relents, out of love for her and his family, but condemned to hang. Reverend Hale arrives with when Danforth insists that he sign his con- a warrant for Elizabeth’s arrest: she is accused of fession, Proctor refuses: “I have given you my witchery by Abigail and must stand before the soul. I will not give you my name!” He is led off court. Proctor passionately vows to see this to execution. In her tears, Elizabeth exults that never happens. he “has his goodness now.”

✧6✧ has looked, but cannot find no me. What did you in the forest? The Crucible cure in his books for Betty. He ABBY ACT I bids you look to unnatural causes. We did dance, Uncle, and when Reverend Parris’ House in Salem, PARRIS you leaped so quick from the Massachusetts ,1692. He kneels There be no unnatural causes here. bush, Betty took fright and she by the bed of Betty, who is ill.) ABBY fainted. That’s what happened. PARRIS Opening CD ONE, Track 1 Uncle, the Common is packed And Tituba waving her arms TITUBA (his slavegirl) with people chatterin’ of warlocks o’er the fire, screeching and gib- My Betty be hearty soon? and witches. You’d best go out bering... what of that...? And the PARRIS and deny it yourself. dress on the grass. Out of here! PARRIS ABBY (faulters) TITUBA And what do I say...? That I found The dress? My Betty gonna die? my daughter and niece dancing PARRIS PARRIS in the forest like heathen? Aye, and someone running naked Out of here, Tituba! Out of my ABBY through the trees. sight! (She goes.) Oh my God, Uncle, we did dance and Tituba ABBY help me! Child! Betty child, will sang her songs. But there outside No, no... no one was naked. you wake? Will you open your eyes? they’re speakin’ of witchcraft. PARRIS ABIGAIL (entering) Betty’s not witched... Abigail, I have enemies in this Uncle... Uncle Parris. Susanna has PARRIS miserly town. For three long years come from the Doctor. He says he Abigail, you’ve not opened with I have fought to make this stiff- necked parish respect and obey me, and now you bring corruption to my doorstep and compromise my very character. Child, I have given you bed and board and the clothes upon your back. Now I must have the truth before I leave this room. My ministry here’s at stake. Can you, do you, under- stand? So give me an upright Reverend Parris (Ryan Capozzo), Abigail (Sylvia D’Eramo), Tituba (Cara Collins) answer... Why did Goody Proctor ✧7✧ discharge you from her service? THOMAS PUTNAM PARRIS She comes but rarely now to Good evening, Mister Parris. How Thomas, we cannot leap so fast to church. She will not sit so close to is your Betty? Our Ruth is also taken. witchcraft, and in my very house. “something so soiled,” she says. PARRIS Would you have them howl me What meant she by that? Your Ruth? Sick? out of Salem? Would you? ABBY ANN PUTNAM ANN That bitter woman, that snivelling Not sick... The Devil’s touch is Would you have us all destroyed woman! Goody Proctor hates me heavier than sick. It’s death in life. by the Devil? Would you? Once because I would not be her slave. She never waked this morning but he took only babies, now it is girls, PARRIS her eyes is open. She walks, she girls grown to womanhood. That may be, yet since you left eats, yet hears naught, sees THOMAS her house, no other has sought naught. Her soul is surely taken... We cannot tarry now. My your service. Tell me, why is that? THOMAS daughter lies at Death’s door. She Tell me. It’s witchcraft! I’ve sent to Beverly fades before our eyes. The last ABBY for Reverend Hale. child of eight my Ann has borne. They all want slaves, not such as I. PARRIS (alarmed) The Doctor has no remedy, finds Let them send to Barbados for To spy out witches? No, no! We nothing in his books. And you, that. Do you begrudge me my have no need of him, not here. can you cure her? Can you? bed, Uncle? This is not witchcraft. (Another knock. Rebecca, Francis PARRIS THOMAS Nurse enter with Giles Corey.) No, no. Not witchcraft? Now look you, PARRIS ABBY Mister Parris... Ah, Rebecca, how good of you to I will not have it said my name is come. Francis, Giles... soiled. I’m clean, as clean as any ALL woman in Salem. My name is Good evening... good! Elizabeth Proctor is a liar. (A REBECCA knock at the door) Oh, I’ll go down. How does your Betty fare? We PARRIS (The Putnams enter.) hear that she is ill. No, stay. Watch Betty. ANN Betty lies as dead as does our Scene Track 2 Ruth. It’s Devil’s work. PARRIS Thomas Putnam (Christopher Jones) PARRIS Oh, good evening, Ann, Thomas. and Ann Putnam (Derya Kayaalp). No, no, we do not know the ✧8✧ man, straight as the oaks on Salem Walk. It little behooves the likes of you to libel the good name of John Proctor. REBECCA Gently, sirs, gently. These quarrels do not help us. Your Ruth will be well, as will your Betty. They will wake in their own time. I’ve had eleven children, am a grandma twenty-six times, and I know. All Giles Corey (John Downey), Francis & Rebecca Nurse (Philip Monrian, Iris Rogers). children in their silly season play a game, an ancient game: “Bedevil cause. Betty sleeps, this we know THOMAS the old ones, outwit them, trip and little more, but Thomas will You slanderous old fool, you’ll them... and run them bow- see witchcraft here and sends to answer to the law. The Devil is legged.” And we, the old ones Beverly for Reverend Hale. abroad in the world. From the must wait and trust. GILES Bible we know the signs... THOMAS Ah, the Reverend Hale! And will GILES Humph! Poppycock, old woman. he make Betty fly again? Old Depends on how you read the A waste of time and we’ve none Collins says she flew high over Word. Even the Devil has ways to spare. his barn and come down light to quote Scripture. REBECCA as a bird. THOMAS THOMAS Ah, now you’re aping your friend Not at all. Patient love is the gen- We can do without your foolish John Proctor, twisting the scrip- tle cure, and all that is needed jests. The Bible says: “Thou shalt tures to please his whim. here, I know... A child’s spirit is a not suffer a witch to live,” and I GILES runaway thing. You’ll never catch say there’s witches now in Salem, Twisting... That’s the word for you, it. But just stand still... For gentle as even you should see. the very word for you. Your father love is the shining lure that brings GILES stole half of his neighbors’ land the runaway home. Just stand still Aye, call ‘em “witches,” hang ‘em and piously claimed it his duty. and it will come home. high as Haman, and before you Now you sound the horn for a JOHN PROCTOR (has entered) know it, Thomas Putnam‘s got witchhunt with an eye to grabbing Well spoken, Goody Nurse. How their land. the rest. John Proctor is an honest very right you are. (All greet him.) ✧9✧ Scene Track 3 that a decent man can follow. JOHN THOMAS (furious) And speakin’ of poppycock, Mis- “Decent,” is it? Did you hear that? ter Putnam, I hear you’ve sent for “Decent!” What’s the world Reverend Hale. How is it that you come to when ignorant farmers act without the congregation’s rant of decency and dare to vote? (Putnam sputters.) reproach their betters! PARRIS JOHN Thomas did well, it’s what we need. “Ignorant farmers and their bet- JOHN ters,” eh? Put here by God for And by whose decision, may I ask? your kind to cheat? That may be REBECCA the scheme of things as you and Hush, John. (to the others) You Parris see it. But you will not sub- see, Mister Hale but gives us cause John Proctor (Bryan Murray) jugate this town, never... while I for bickering anew. Send him back since snow began to fly, he’s not breathe. We live and vote as and trust in prayer. And let us not been seen in church. equals here. You wear no halo, see witches in silly girls. JOHN Mister Putnam. JOHN I’ll not come out these five mile PARRIS Aye, that’s the truth. for Hellfire and Damnation. Blasphemy...! THOMAS GILES REBECCA The truth, indeed...? The truth I And sermons demanding the deed Stop this...! Your quarrels tear hear is that some in this town to this house, candlesticks of gold. the town asunder. And in this have no belief in witches. PARRIS house of sadness. GILES The simple needs of my high PARRIS Aye, Proctor here. He’s one. office, that is all I ask. Rebecca is right. We disgrace JOHN (to Putnam) GILES ourselves. Let us seek God’s help I never spoke a word on witches, That’s all, just his “simple needs,” in the singing of a psalm. one way or another. But your acres John. JOHN do not command here, sir. This JOHN Better soul-searchin’ than psalm- society acts on the vote of all. Aye, what will the errant flock do singin.’ I needs must go; I’ve PARRIS when the shepherd is so greedy? things to do. John Proctor, so worried on this GILES GILES (departing with Proctor) society, that’s a marvel. And yet, True. He preaches mighty little Wait, John. I’ll come along. ✧10✧ PARRIS REBECCA (to Betty, back in bed) Let us now sing “Jesus, my Conso- Quiet, my darling. There, there... lation,” for well it suits the hour. PARRIS THE OTHERS Ah, Mister Hale, you’re here! Jesus, my Consolation, Thee do I worship, Scene Track 4 Thee do I trust. (Abigail has REVEREND HALE (has entered entered the room.) during the commotion) Forgive my When Satan attempts me coming right up. I knocked, but... To vile corruption, PARRIS Smite Thou the Devil, No, no. No. God has sent you to Crush him to dust. (Betty moans.) help us in this dreaded hour. Keep me from sin and folly, HALE Reverend Hale (Colin Whiteman) Free me from bonds What faith and science can do shall See? It’s weighted with authority. Of earthly delight. be done. What is the trouble here? Incubi and succubi, witches and Give me the strength THOMAS wizards of night and day, evil To conquer all evil. She cannot hear the Lord’s name. demons and ghoulish nightmares Spare me the pain ANN that haunt sleep and torment the Of Hell’s endless night. It makes her scream and writhe. soul. But if Satan is truly abroad, ABBY (aside to Betty) THOMAS we shall seek him out, then we’ll Betty, be quiet! Betty! For the She tried to fly, a fearful sign. rip him out and we’ll crush him love of God, stop this! ANN utterly. (goes over to Betty). Now, (Betty screams, gets up and tries Sure proof of the Devil’s work. Betty child, waken... little one. to jump out the window.) PARRIS Does someone send his spirit on PARRIS Not wholly certain, Goody Ann. you? A man, a woman? Tell me, Oh my God! Now is it, Mister Hale? child. Or perhaps a bird, a pretty THOMAS HALE bird, a bird unseen? Betty, can you Get her to the bed. That’s true... not wholly certain. hear me? (No response.) Tell me, ANN For much in the world seems how and when this affliction fell It’s a sign. She cannot bear the Devil’s work, but only evidence, on the child? Lord’s name. hard evidence, only that can prove PARRIS FRANCIS NURSE it. Here in my book stands Lucifer Last night, after the girls danced Send for the Doctor. stripped, and all his familiar spirits. in the wood. ✧11✧ HALE PARRIS ABBY Danced? You permit dancing? Goody Ann, would you fetch her? She pleads with us to conjure PARRIS HALE (to Abby as Ann goes) the Devil. No, no. It were secret. Abigail Williams, you were there? TITUBA ANN You danced? (She nods yes.) No, you beg me to conjure! Betty, our Ruth, and Abby were What sort of dancing? ABBY there. Tituba his slave was there ABBY She sends her spirit on me too. She knows conjuring! Why, common dancing, that in church, she makes me laugh PARRIS were all. at prayer. Goody Ann, we cannot be sure HALE TITUBA of that. You’re sure? Why you say dat? ANN ABBY ABBY I can. That’s why I sent my Ruth Uncle Parris saw us. She comes to me in the deep of to Tituba, to ask her dead sisters PARRIS night and makes me dream who had murdered them! Abby, that were not all. The girls, corruption. REBECCA naked, the kettle with the toads... ALL (variously) Why, Ann Putnam...! ABBY She dreams corruption. She joined THE OTHERS Oh, that. That were but a tiny the Devil’s crew. The bloody What...? frog jumped in. massacre that left her an orphan REBECCA HALE child. It’s hurtful, vengeful spirits. You sent a child to conjure the Abigail, tell the truth. Your cousin It’s witchcraft brew. Tituba’s back dead? But that’s a sin. may be dying, afflicted by a witch. of this. She’s the murderin’ witch, ANN Did you compact with the Devil? for sure. Mister Hale, do you hear? Seven children dead ere they ABBY (terrified now) She’s the witch, it’s clear. Make her lived a day. Our Ruth smitten, at No, no. I never, never... (suddenly name the Devil’s crew. It’s charity Death’s door. Could aught be sin points to Tituba who has come and love we need, lift this curse, that saves a child? God shall in). She did. Tituba did! we beg of you. judge me, Rebecca Nurse, TITUBA HALE (to Tituba) not you. Abby, what you say? What she say? Woman, woman, now answer me: HALE ABBY did you speak with the Devil? Have no fear, Goody Putnam, but She made us drink babies’ blood. TITUBA we must ponder this new revel- TITUBA No, no! I never speak wid no ation. I must speak with Tituba. No, no, dat only chickens’ blood. Devil. ✧12✧ PARRIS HALE, PARRIS me seven times. My babies Tell the truth or you’ll be whipped. Have no fear. Speak. Who did shrivelled in her arms. TITUBA you see? HALE (exultant) No, no, don’ whip Tituba. TITUBA The Heavens open, Tituba... Tituba do nothin’ bad. Oh, how many times, Mister Through you God Himself has HALE Parris, the Devil bid me kill you. spoken. Now His holy light shines Open yourself, woman. PARRIS (terrified) forth and Lucifer’s bond is broken. Do you work for the Devil? Kill me? ALL TITUBA TITUBA ...is broken. Alleluja! I no work for him... I tell that Ya! Ya, he do. He say Mister Parris Jesus, my Consolation... Amen... Devil I no work for him! is a mean man. He bid me rise and ABBY (aside) HALE cut yo’ throat (to Putnam). Yo Forgive me, God... I sold my soul, You tell that Devil you “no work throat too and yo’s, Goody Putnam. befouled my name. I sinned and for him?” So you did speak with But I say “No, I don’t wanna kill.” lied, drank Satan’s brews. For him, But he say “Yo work fo’ me, yo’ the Devil! naked, danced, then signed his get silk dress, big black wings, and PARRIS book, became his loving bride. I set yo’ free. You can fly down to She did, she did. Make her tell us Now I want Thy love, oh God. Can Barbados where de sun is big an’ who was with him. you forgive my mortal fall? Do you bright, where dere’s singin,’ where THOMAS send a sign? Do I hear Thy voice? I dere’s dancin,’ where dere’s feastin’ Were it Sarah Good? do! ‘Tis Thy sweet call. I open to till de night.” But I say “No!” I thee, oh Jesus. Open Thy arms to ANN save yo’ throats. Den one stormy Or Goody Osborn? me. I kiss Thy hand, sweet Jesus. night he come and say to me Take me up to thee, oh God! ALL “Look, white people, dey’s mine END ACT ONE Tell us, Tituba. Tituba must con- too!” I peer into de blackness: an fess or she will hang! (Tituba ole woman dere, scraggy hair and a ACT II sobs, then gathers herself.) crooked nose. Couldn’t make her out. (The home of John Proctor.) TITUBA ANN Opening Track 5 It were black dark. Tituba no see. Were it Sarah Good? ELIZABETH PROCTOR HALE TITUBA (John enters.) What keeps you so Speak utterly, Tituba, and God Ya, ya, Missus Putnam, it were late? It’s nearly dark. will protect you. Sarah Good. JOHN TITUBA ANN Today I wanted to finish my Oh God, protect Tituba! I knew it... She were midwife to planting out to the edge of the ✧13✧ ELIZABETH Aye, it is a proper court. They’ve sent a judge out of Boston and he’s a stern one is deputy Gover- nor Danforth. And he promises hangin’ if they’ll not confess. JOHN They’re mad. No one will hang. ELIZABETH Abigail leads the girls into court and the crowd parts like the sea Elizabeth for the Chosen People, they say. Proctor (Rachel Suspected folks are brought be- Weishoff) with fore them and then are clapped husband John. in jail, if the girls scream and howl forest. This farm is the size of a I think you’re sad again. Are you? and fall to the floor. continent when you go foot by ELIZABETH JOHN foot sowing new seed. But soon, I I thought you’d gone to Salem, This is a black mischief. think, we’ll see green fields. you are so late today. ELIZABETH Beneath the clods it is warm as JOHN John, you must go to Salem. You blood. So pray you now for a I changed my mind. must tell them it is fraud. Tell them warm and speedy summer. ELIZABETH that she said so in her uncle’s house. ELIZABETH (aside) Mary Warren’s there. JOHN Aye, for all the good that comes JOHN I’ll think on it. of any prayer of mine. What? She’s gone again? ELIZABETH JOHN ELIZABETH You cannot keep it, John. You ought to bring some flowers When I tried to stop her, she raises JOHN in. It’s still like winter in here. On up her chin like the daughter of I say I’ll think on it. Sunday let you come with me and a prince and says “I must go to ELIZABETH we’ll walk the farm together. I Salem, Goody Proctor. I’m an of- Good, then let you think on it. never see such a crowd of flowers ficial of the Court.” But if it were not Abigail that as is blooming everywhere. It’s a JOHN you must hurt, would you good time, is springtime... Court? What court? falter now? ✧14✧ JOHN JOHN week I’ve been haunted by fear of Woman, I’ll not have your Enough, I say. I’ll plead my hones- what she may do next. She has an suspicion more. ty no more. But look you some- arrow in you yet and she will twist ELIZABETH times for the goodness in me and it home. Then let you not earn it. judge me not, I tell you... You must tear yourself free of JOHN her. You must, John, you must... Let you not judge me. Let you look Aria Track 6 You will tear yourself free of her. to your own improvement. I’ve ELIZABETH For know that I will be your only forgotten Abigail, do you under- I do not judge you, John. The wife... your only wife or no wife stand? I’ve forgotten, but you court that judges you sits in your at all. (He tries to reach out to her, forget nothing, you forgive nothing. own heart. I never thought you but she recoils. Meanwhile Mary Learn charity, Elizabeth. I’ve gone but a good man... though perhaps Warren has quietly come in.) tip-toe in this house since she is a little bewildered. That’s all. But, gone. I have not moved from here oh, the dreams I had for our proud Scene Track 7 to there without I think and try to young love, a love that would JOHN please you. And still an everlastin’ never turn or falter. But now it’s Mary Warren, how do you go funeral marches round your heart. shattered, lost, and gone. And an I cannot speak but I am doubted, to Salem when I forbid you? Do icy hand closes round my heart. every moment judged for lies as you mock me? I’ll whip you if you How could it be you turned from though I come into a court when go again. I come into this house... me to one like Abigail? How could MARY WARREN But you think, think on this: if I it be, John? You say she’ll call you Pray, hurt me not. I am sick, Mis- go to Salem and call Abby fraud, lecher, but won’t she fear to damn ter Proctor. Please, I am weary. I she’ll strike back, surely she will. herself? Think of those who rot in must sleep. Then it’s Proctor or Lecher, the jail, those whom you might save. ELIZABETH name will be the same... Think of Think of them... and then think Mary, is it true? There be fourteen that, and then think on your sons. on your sons. John, grant me this: women jailed? Besides, it’s not so easy to prove you do not know a young girl’s MARY that she is fraud. I have no hard heart. A promise is made in any No, ma’am, it’s thirty-nine now evidence. What she told me she bed, spoken or silent. It’s surely and... (She falters.) told me in a room alone. made. Now Abigail may dream on ELIZABETH ELIZABETH that; I know she does. Go to her, Child what ails you? In a room alone? Then it is not John, and break that promise that MARY as you told me. she may dream no more. All this Goody Osborn will hang. ✧15✧ cannot breathe, and then I hear a ELIZABETH voice screamin’ and it’s my voice... John, you must go to Salem... JOHN (Voices are heard outside.) And so Judge Danforth con- What’s that? (John Cheever, demned her to die. You will not Reverend Hale and others enter.) go to that court again. Hangin’ old women is no work for a Scene Track 8 Christian girl... JOHN MARY Mister Hale, John Cheever, But they will not hang if they what brings you here? confess. It’s the holy work of God HALE we do. And if the Devil’s loose in Business of the Court, Mister Salem town, we must seek him Proctor. We’ve a warrant for your and rip him out. wife. Goody Proctor, it’s a serious Mary Warren (Soraya Karkari) JOHN charge, but your name be good in JOHN He’s loose indeed! I’ll whip him the town. I’ve come to see that What? Judge Danforth will out of you! you are fairly treated. permit this? MARY (looks at Elizabeth) JOHN MARY I saved her life today. But a warrant? Who makes the He will. He sentenced her. But not JOHN charge? What? Sarah Good, for Sarah Good CHEEVER (reads the warrant) MARY confessed that she compacted The Williams girl. Abigail Williams I saved her life today. with the Devil and that she bound duly sworn doth warrant as fol- herself to torment Christians till ELIZABETH lows: “I was sitting at supper with God’s thrown down. Then Goody I am accused? Who accused me? Judge Danforth and Reverend Osborn stumbles in. That poor old MARY Parris when suddenly I felt a great woman, I think to myself: how can I am bound by law I cannot say. stab under my heart. Uncle Parris I ever accuse her, such a sorry soul ELIZABETH comes to help me, finds a needle she be. But the stubborn thing, It was Abigail. She wants me she won’t confess. She sit there dead, John. She thinks to take stuck two inches deep into my denying and then I feel a coldness my place. belly. Asked how I came to be so a-climin,’ the skin on my skull JOHN stabbed, there came a whisper in begins to creep and I choke. I No, no. She cannot. my ear that this were done by ✧16✧ Elizabeth Proctor with the heard that, everyone...? The will send her home. devilish help of a poppet.” court must hear this. JOHN (threatens them) ELIZABETH JOHN But I will not let you take her. What? I’ll give you somewhat to tell the You will not go. Out of here! JOHN court, John Cheever. (He draws CHEEVER, HALE What’s this? Mary Warren forward.) Mary, tell Hold, man! Take heed! HALE the truth now. How came this ELIZABETH (stops him) Goody Proctor, do you keep poppets? poppet here into my home? No, John, no. I must go, John. ELIZABETH MARY (frightened) I must, John. Mary, there is bread Why no, not since I was a child. I... I think it is mine. Yes, yes, I enough for morning. You will HALE made it, sir. bake in the afternoon. Help Mister Well then, our business here JOHN Proctor as though you were his is done. And did you stick this needle in? daughter. You owe me that. CHEEVER (sees a poppet on the MARY When the children wake, speak mantle) But I spy a poppet. I did. Why, Abby saw me do it. nothing of this. It will frighten ALL She sat next to me. You can them. But John, bring me home What? What is it? ask her. soon. I am afraid. CHEEVER (to Proctor) HALE JOHN (as they take her out) The very poppet... your wife’s You made the poppet? You stuck I will bring you home... poppet. The needle in the belly the needle in? And Abby saw you here, the belly of her poppet. do it? You speak your own mind Aria Track 9 ELIZABETH now, not that of another? JOHN I do not understand. What JOHN (as Mary nods yes) “If she be innocent...” signifies this child’s poppet? And There it is. Your mind is surely They shall not take her... this needle? settled now. MARY (comes back in) CHEEVER HALE Mister Proctor...! This needle signifies murder, your I’ve not the power to decide this JOHN (advancing on her) murder of Abigail Williams. now. Goody Proctor, you’re under Mary Warren. You will go to that ELIZABETH charge and must come to be court with me. You will tell them The girl herself is murder. She examined. But trust to the judge- all you know, and you’ll make should be ripped out of this world. ment of the Court, for Judge Dan- them believe you. CHEEVER forth is a stern but just man. If MARY “Ripped out of this world!” You only she be innocent, the Court I cannot. I am afraid... ✧17✧ JOHN ACT III them to God, these psalm-singin’ No, you will not be afraid. You Outside Reverend Parris’ house. hypocrites who say I danced for will explain this poppet and Opening CD II, Track 1 the Devil. Let them suffer for it expose this fraud. ABIGAIL now who must. But someday MARY John, I knew you’d come back they will come to me and thank Abby will kill me if I do, and she to me. Night after night I been me on their knees. will charge lechery on you. waitin’ for you. JOHN JOHN JOHN Abby, Abby, what do you say? What? What’s that? No, no you could not. You’ve become a monster of evil. MARY ABBY You whelp of the Devil, how I know all about it. Abby told me I cannot sleep for dreaming, I can you do these things? Are everything. She will ruin you, ruin cannot dream, but I wake and you looking to be whipped? you completely. walk about thinkin’ I’d find you Are you? JOHN coming through some door. Oh ABBY Good, good, we will slide toge- John, my love. Come to me now No, no. I look only for John Proc- ther into our own pit of Hell. Her as you came before, like some tor that took me from my sleep saintliness is done forever. But my great stallion wildly pantin’ for and put knowledge in my heart. wife will never die for me. That me. We are free now, free to love. For him that awakened me and goodness will never die for me. JOHN (rebuffs her) taught me to love. Oh, John, Never...You will come with me No, no, Abby, we are not free! you too are possessed of the and tell this story in court or I’ll ABBY spirit of God. tear your tongue from your head. John, surely you sport with me. JOHN MARY JOHN The spirit of God? I cannot... You know me better. We are not ABBY JOHN free, I say. Elizabeth lies in jail, Leave Elizabeth, your sickly wife. Now Hell and Heaven grapple on accused by you. The village lies JOHN our very backs and all pretense is under a curse, your curse. That is Speak nothing of Elizabeth. ripped away. We are what we why I’m here, to tell you you must ABBY always were, but now we are free them. You can and you must. Together let us do our holy work. naked. Our sins walk by our side. ABBY JOHN Aye, naked, and the wind will Free them? But I am freeing them “Holy work” you call it? It’s fraud, blow... God’s icy wind will blow. from their own corruption. I am pretense and fraud, and I shall END ACT TWO / END CD I possessed by the Spirit. I open expose it. ✧18✧ ABBY DANFORTH (to Giles) Call it what you will, do what you What proof do you submit for this? like. But if your sniveling Elizabeth GILES dies, remember, remember: it is Why, the proof is in the thing you who kill her. (She runs off.) itself. If my wife hang, she forfeit land. Scene Track 2 DANFORTH The town meeting house used as Yes, that is the law. Go on. a courtroom. Abigail leads girls GILES into court. Townspeople assemble. But is it not then clear to you? CHEEVER (reading) Who here in Salem has the coin Hear ye, hear ye. “By the will of to buy it up? None but Putnam, God and their Majesties the King Thomas Putnam. and Queen, under the laws of the DANFORTH Province of Massachusetts, this But proof, man. Where’s the proof? Court is now in session.” (Judge Judge Danforth (Joshua Benevento) GILES Danforth strides forward.) CHEEVER It was his girl Ruth that cried out JUDGE DANFORTH Giles Corey. (Giles comes up.) This on my wife, prompted by him: Open Thou my lips, oh Lord, and is the statement of Giles Corey This made him a fair gift of her let my mouth show forth Thy (reads): “I do hereby swear that land, he said. Three honest praise. Make Thy spirit speak Thomas Putnam did prompt his townsmen heard him say it. through me Thy Judgement on daughter Ruth to cry out ‘witch’ They will swear it. these evil days. The people groan, on Rebecca Nurse and my wife DANFORTH but heed them not: let them wail, Martha Corey. And that he did And what are their names? let them cower. We may not let this not from any Godly motive, GILES this foulness fester and yield our but only to acquire the land to I’ll give you no names. You’ll send world to Satan’s power. Never...! which these women hold title.” them off to jail to rot just as you Thy government and central Sworn and attested. have the others. Church be now, o Lord, within this DANFORTH DANFORTH hand. Let it falter not to punish A serious accusation. Is it true? What? What’s that you say? You those who spread this plague PUTNAM (standing) criticize this court? throughout our land. And now, It is not. Your Honor, it is REVEREND PARRIS Mister Clerk, the order of business. falsehood. His vicious tongue stirs rebellion! ✧19✧ PUTNAM by a witch, Your Honor. The girls DANFORTH An honest man would gladly tell are frauds. Abigail Williams, rise. Now ponder this court all he knows, unless, of PARRIS (to Danforth) this carefully. If you’ve been pre- course, that man himself is part Beware this man, he’d overthrow tending, you’d best confess it of the Devil’s conspiracy. the Court. now. Does Mary speak the truth? DANFORTH PUTNAM ABBY (stands) You’re right, sir. Arrest this man It’s Heaven’s voice speaks through She lies. in contempt of court. these girls. DANFORTH (to Mary) ALL DANFORTH You’d still go on with this? Arrested in contempt of court! Mister Proctor, you say the girls MARY GILES are frauds? Yes, Your Honor. Yes, sir. Thomas Putnam, this is your doing. JOHN DANFORTH (to Abby) You’ve made this a court of Hell I do, and here’s one will swear it. She swears the charge against twisting at your beck and call. I’ll DANFORTH Goody Proctor is based on a have your life. I’ll cut your throat! Mary, do you so swear? poppet of hers, and that you (He lunges at Putnam and is MARY (trembling, steps forward) saw her make it and put the restrained.) Yes. needle in it. What say you to this? DANFORTH DANFORTH ABBY Order...! Take him away. (Giles is How came this turnabout? Did It is a lie. removed.) Let heavy persuasion Mister Proctor threaten you? JOHN press him to tell the names. MARY It is no lie. It is the truth. PARRIS No, no sir. DANFORTH (to him) John Proctor brings a deposition DANFORTH You would charge upon this child from Mary Warren. Are you sure? a plot to murder your wife? DANFORTH MARY JOHN Did you not tell me she were sick? Oh, yes, yes. It is not a child, I tell you... PARRIS DANFORTH DANFORTH (to Mary) So I did, for so John Proctor told us. Then you sat in my court day When those accused as witches JOHN (steps up) after day and callously lied? confronted you, you would faint, Sick at heart she was, Your Honor. Child, answer me! choked by their spirits. But not now. She comes to tell MARY MARY you this: these girls never saw a I.. I lied, but I cannot lie no more. Oh sir, that were pretense. We spirit nor were they ever touched I am with God... were all marvels at pretense. ✧20✧ PARRIS questioned, mistrusted, denied. And now she thinks to dance with Your Honor, if that be true, then DANFORTH me on my wife’s grave. And well let her faint now. (to Mary) Faint! Child, no one denies you. she might, for once I thought on MARY (unsure) ABBY (to Danforth) her softly. But this, your Honor, Faint? Let even you beware. The power is a whore’s vengeance. DANFORTH of Hell may yet turn even your DANFORTH (to Abby) Aye, faint. wits. Beware... there is... (Her Do you deny this? MARY face suddenly turns upwards.) ABBY I... I cannot faint. DANFORTH I shall not answer it. DANFORTH What is it? JOHN Why? What is lacking? ABBY, then all the GIRLS I have ruined my name, but now MARY A wind... I freeze and cold winds you know the truth. Now you I cannot tell... Then I heard the blow. Oh Mary, do you send this know why my wife is accused. She girls all screamin ‘ and you... you shadow upon us? knew a whore when she saw one seemed to believe them and I... It GIRLS, ABBY and put her out on the high road. were only sport at first, but then I freeze and cold winds blow... DANFORTH the whole world cried “spirits, Oh heavenly Father, take away Mister Parris, bring me Goodwife spirits...” But I only thought I saw this shadow. Proctor and knock before you them. I did not. I tell you I did not. JOHN enter. We shall touch the bottom DANFORTH Pretense! of this swamp today. (to John) Abigail Williams, let you remem- MARY Is your wife a truthful woman? ber that to God every life is pre- Oh God...!(The girls moan.) JOHN cious. His vengence is terrible on JOHN (to Abby) In her life she have never lied. them that take life without cause. How do you call Heaven? DANFORTH (to Abby) Were the spirits you saw but an Whore! Whore! Good then, and if she tell me, illusion? Tell me, Abigail, tell me DANFORTH, PARRIS child, you be a harlot, then may now before it is too late. What? What’s that? God help you. Let neither of you ABBY JOHN face the witness. Enter! (Elizabeth Mister Danforth. I have seen my I have known her, sir... is led in.) blood running out in this court- DANFORTH room for doing my duty, my sacred You are a lecher? Scene Track 3 duty, to mark out the Devil’s crew. JOHN Come here, woman. Look at me, And this is my reward? To be Yes. With her, in my own house. in my eyes only. Why did you ✧21✧ dismiss Abigail Williams? Look at JOHN struck me false. She has... me! The answer’s in your memory. Elizabeth... I have confessed it! ABBY (a wild, chilling cry) Why did you dismiss her? ELIZABETH Yellow bird...! Begone...! Oh ELIZABETH Oh John, my God! (She is led off.) Mary, do not tear my face! She... she displeased me... and HALE (to Judge Danforth) MARY my husband. No, no. It is a natural lie to tell. I Abby, what are you saying? DANFORTH beg you, stop now before it is too JOHN How displeased you? late. Do not condemn another in- Mister Danforth, they pretend ELIZABETH nocent, I beg you. I signed away again! She were... the life of Rebecca Nurse this GIRLS (echo Abby) DANFORTH morning and my hand quivers yet. Her claws! Her claws! Slovenly? Lazy? I cannot shut my eyes again. ABBY ELIZABETH There is private vengeance work- Mary, please don’t hurt me. You Oh sir, in that time I were sick and ing in these trials. cannot want to tear my face, for she were not a proper servant. DANFORTH God made my face. DANFORTH But she spoke nothing of lechery. MARY (terrified) And did your husband turn from This man has lied. I’m here. I’m not hurting her. you to her? HALE DANFORTH ELIZABETH (unsure) I believe him... This girl has always But why does she see this vision? He... DANFORTH Look at me! To your knowledge, did John Proctor commit the crime of lechery with Abigail Williams? ELIZABETH Oh no, sir, no! DANFORTH Remove her, remove her, Mister Parris. JOHN (desperate) Elizabeth, tell the truth! The Salem DANFORTH Girls Remove her! possessed. ✧22✧ DANFORTH (to John) ALL You’ve compacted with the Devil. Allelujah! She loves God... MARY (in a wild fit) DANFORTH Ah...! Proctor, what are you? Are you JOHN (tries to stop her) the Devil’s man? Mary...! GIRLS MARY (possessed now) Ah...! Don’t touch me...! For you are ALL the Devil’s man. “Devil’s man...!” John Proctor’s DANFORTH the Devil’s man. Beware..! What’s that? Does he bid you do END ACT THREE the Devil’s work? ACT IV Abby torments Mary. MARY (repeats John’s own words) The Salem Prison. Dawn. “My wife will never hang. We will MARY Scene Track 4 overthrow the court,” he say. He She sees nothin.’ TITUBA (sits in a cell next to Sarah come and wake me every night, ABBY, GIRLS (imitating her) Good’s cell) De Devil say he’s his eyes like burning coals. “She sees nothin.’” comin’ to set his people free. JOHN MARY He’ll fit us out with feathers, black Abby, you musn’t! Mister Hale! wings for you and me. He’ll fly ABBY, GIRLS MARY aroun’ dis jail an’ de walls’ll come “Abby, you mustn’t...” His icy fingers claw my back. tumblin’ down, an we’ll fly away DANFORTH (to Mary) “Sign the book...! Sign the forever from dis ole Salemtown. Why can they only repeat you? Devil’s book,” he say. And I sign. SARAH (heard in the distance) MARY HALE Ah...! Abby, stop it! Your Honor, the girl is mad, stark TITUBA ABBY, GIRLS raving mad! He’ll lead us to Barbados where “Abby, stop it!” JOHN de sun is big an’ bright, where JOHN Mary! Mary! dere’s singin,’ where dere’s dan- Give me a whip and I’ll stop it! MARY cin,’ where dere’s feastin’ till de ABBY, then GIRLS No, I love God. night, where de fun an’ sport She walks the beam, she’s coming I’ll go your way no more. begin when de sun goes down. down, her wings are spreading. Oh, Abby, I’ll never hurt you For the Devil is a pleasure-man Please don’t, oh, Mary! more... in ole Barbadostown. ✧23✧ The Devil say he’s comin,’ but he DANFORTH marked to hang this morning. lie to you and me. He’ll never give I do... by God. Beguile yourselves ELIZABETH us feathers. He’ll never set us free. no more. For they shall confess What do you want of me? We pray to him for help, but he or they shall hang. Till justice is HALE don’ make no soun.’ We gonna done, I shall remain. Persuade him, make him confess. rot and die in dis ole Salemtown. PARRIS ELIZABETH But Your Honor, those we hang To witchcraft? I shall not, and Scene Track 5 this morning are a very dangerous could not, persuade him to (Judge Danforth, Mister Hale enter.) sort. These people carry great such a lie. HALE weight in the town. Rebecca HALE But sir, you stir rebellion! Nurse upon the gibbet will wake Let him lie, but let him save his DANFORTH a vengeance against us. Today... life. God asks no man to take a life. Bring Goody Proctor. when I open my door, a glittering ELIZABETH HALE dagger clatters to the floor! I cannot make him lie. Beverly has already thrown out DANFORTH DANFORTH the court. Orphans wander from What are you asking? Come to Be there no wifely tenderness in house to house. Abandoned cattle the point? you, woman? Your husband will bellow on the highroad, and no HALE man knows when these young Postpone these hangings. Say die with the sunrise. Do you un- harlots’ outcries will put an end you strive for confessions. derstand? What say you? Will to his life. (Parris hurries in agitated.) DANFORTH (in a growing rage) you strive with him? DANFORTH I’ll do no such, and know you this: ELIZABETH Mister Parris, what’s the trouble? to quell rebellion in this land, I’ll I promise nothing, but let me PARRIS draw and quarter ten thousand speak with him. Abigail has fled. She has broken men! While I speak God’s law, I DANFORTH (to Hale) into my moneybox. She is no- will not crack His voice with Fetch him here. I do not under- where to be found! whimpering! stand this woman. Calamity DANFORTH CHEEVER (brings in Elizabeth) surrounds her and yet she weeps What? Goody Proctor, sir! no tear. (John Proctor is brought HALE DANFORTH in.) Mister Proctor, there is light What indeed! Now where’s your What? Oh, Mister Hale, would you? in the sky. Counsel with your case against the Proctors? Who HALE wife, Mister, and may God turn now stands against them? Goody Proctor, your husband is you from Hell. ✧24✧ wife that drives a man to lechery. JOHN No, no. I will not hear it. ELIZABETH I counted myself so very plain, so poorly made, that no honest love could come to me. Suspicion kissed you when I did. I never knew how I should say my love. But know this now, as I know it: whatever you will do, it’s a good man’s doing. JOHN Whatever I will do, will you for- give me? ELIZABETH Elizabeth and John in his jail cell. Whatever you will do, whatever way you go, oh John, I will go Scene Track 6 gave them: “More weight!” he by your side. JOHN (alone with Elizabeth) says...”More weight...!” and dies. JOHN What word of the children? JOHN Elizabeth...! (They embrace.) ELIZABETH Elizabeth, I’ve been thinkin’ that Mister Danforth... (calling out) They are well. And you, have you I would confess. What say you? I want my life! been tortured? ELIZABETH JOHN As you will, so I would have it. Scene Track 7 Aye! and now they come for my But John, I want you living. HALE (enters with Danforth) life. Have any confessed? JOHN Oh God, be praised. He will ELIZABETH I cannot mount the gibbet like a confess. A hundred or more, they say. But saint. Will you forgive me if I lie? PARRIS not Rebecca Nurse, nor poor Giles ELIZABETH It is a marvel. He will confess. Corey. He would not say them aye John, oh John, it was my lie that ALL or nay. Great stones they lay upon brought you here. I, not you, Praise to God. You shall be his chest. But two words only he should ask forgiveness. It’s a cold blessed in Heaven... ✧25✧ DANFORTH himself. Let him sign it. Come, DANFORTH Praise be to God. Mister Proctor, man, sign! (John stands silent.) Do you mean to deny this con- now let you sign this. DANFORTH fession when you are free? REBECCA NURSE (is led in) Do you sport with me? Sign, or JOHN Oh John, are you well, then? (She there is no confession. I mean to deny nothing, but this sees the document, recoils.) JOHN is my name. I have given you my PARRIS But why must I sign? All of you soul. Leave me my name. John Proctor has confessed. have heard my confession. DANFORTH (in a frenzy) REBECCA PARRIS Is that document a lie? I do not Confessed? Oh, John, God send The village must have proof! deal in lies. You will give me your His mercy on you. honest confession or I cannot JOHN DANFORTH (to her) keep you from the rope. Which Damn the village! You came to Now surely you see it profit way do you go, Mister? Which save me. I have confessed myself. nothing to keep this conspiracy way do you go? (John grabs the It is enough... God does not need further. Goody Nurse, will you paper and tears it up.) Marshall...! my name nailed upon the church confess yourself with him? PARRIS, HALE (alarmed) REBECCA door. God sees my name. He Proctor! You will hang. You cannot! It is a lie! I may not damn myself. knows how black my sins are. It JOHN It is a lie, Mister Danforth. is enough. It is enough! I can. And there’s your first marvel, DANFORTH DANFORTH that I can. You have made your Mister Proctor, when the Devil Mister Proctor! magic now. For now I do think I came to you, was this woman in JOHN see some shred of goodness, some his company? You will not use me. I am no Sarah goodness in John Proctor: it’s not JOHN Good or Tituba. I am John Proctor. enough to weave a banner with, No... I have three sons. If this is nailed but white enough to keep it from DANFORTH to the church on the very day such dogs. (Elizabeth weeps.) Martha Corey? Mary Easty? Or Rebecca hangs for her silence, Give them no tear! Tears pleasure any others? how may I teach my sons to walk them. Show honor now. Show a JOHN like men? With my sins I blacken stony heart and with it sink them! No... I speak my own sins, but I them forever. You may tell them I (He kisses his wife. The doors open cannot judge another. confessed myself. Tell them Proc- to the courtyard and the gallows.) HALE tor broke his knees. Tell them REBECCA NURSE It is enough that he shall confess what you will, but I shall not sign! Let you fear nothing! Another ✧26✧ judgement waits us all. PARRIS, HALE (to Elizabeth) him, woman. Take away his shame. DANFORTH (furious) Go to him, Goody Proctor. There is ALL Hang ‘em high over the town! yet time. Plead with him, woman. Weep for them...! Who weeps for these weeps for It is pride, vanity. Proctor! Be his ELIZABETH (as John is led away) corruption. helper. What profit him to die? He have his goodness now. God REBECCA (calmly, to John) Shall the dust praise him? Shall forbid I take it from him. (John I’ve had no breakfast. the worms declare his truth? Go to Proctor ascends the gallows.) END ACT FOUR / END OF THE OPERA PURCHASE SYMPHONY ORCHESTRA Hugh Murphy, conductor VIOLIN I: Jessica Li (Concertmaster), Allison Dubois, Savion Washington, Ruda Lee, Heather Munch, Kayla Iwane, Annette Meisner. VIOLIN II: Cami Sylvia, Emily Javarone, Vilme Joselin, Chaeyoung Son, Lily Holgate, Kenneth Trotter, Michael Duffett. VIOLA: David Doucette, Caroline Latman, Brian Vegh, Michela Christianson. CELLO: Aaron Stier, Louis Rizzo, Kristina á Válli, Claude Buffington Gilbert BASS: Gabriel Harris, Thomas Forletti. FLUTE: Melissa Aleles, Grace Law (Piccolo). OBOE: Danielle McBryan, Arthur Derienzo (English Horn). CLARINET: DukHyun Sung, Tadayuki Higashide (Bass Clarinet). BASSOON: Hanul Park, Dillon Meachem. HORN: Casey Cronan, Therèse Giordano, Jared Silbernagel, Lauren Wallen. TRUMPET: Kenneth Kamping, Dennis Mowers. TROMBONE: Matthew Mantione, Daniel Armetta. TIMPANI: Lucy Tarantino. PERCUSSION: Angel Lau. HARP: Alyssa Reit. ORCHESTRA MANAGER / LIBRARIAN: Arthur De Rienzo. REHEARSAL PIANIST: Mina Kim. PURCHASE OPERA VOICE FACULTY: Joshua Benevento, Bonnie Hamilton, Dr. Sherry Overholt, Kaori Sato, Jacque Trussel. VOCAL COACHES: Joan Krueger, Hugh Murphy The stage production and recording of The Crucible at Purchase College, SUNY was made possible with support from The Emily Grant Opera Performance and Production Fund, The L. Werlinich Opera Production Endowment, the Friends of Music, and the Purchase College Foundation. Thanks also to the School of the Arts, Purchase College, SUNY; the Conservatory of Music and James Undercofler, Director.

Also available on Albany—LEE HOIBY’s The Tempest, and RAPHAEL LUCAS’ Confession, with Purchase Opera and Purchase Symphony, Hugh Murphy conducting. ✧27✧ The Crucible CD ONE (61:22) 1 ACT I Opening: “My Betty be hearty?” (5:05) 2 Scene: “Oh, good evening, Ann” (8:33) 3 Scene: “And speakin’ of poppycock” (5:34) 4 Scene: “Forgive my coming” (14:10) 5 ACT II Opening: “What keeps you?” ( 8:20) 6 Aria: “I do not judge you” (5:34) 7 Scene: “Mary Warren!” (4:12) 8 Scene: “Mister Hale!” (5:33) 9 Aria: “If she be innocent” (4:13)

CD TWO (52:32) 1 ACT III Opening: “John, I knew” (6:15) 2 Scene: “Hear ye!” (15:42) 3 Scene: “Come here, woman!” (6:45) 4 ACT IV Opening: “The Devil say” (4:18) 5 Scene: “But, Sir!” (5:52) 6 Scene: “What word of the children? “ (4:45) 7 Scene: “Oh, God be praised!” (8:48)

WARD

ROBERT WARD

The Crucible

The first recording in more than 50 years of American composer Robert Ward’s four-act 1962 CRUCIBLE THE masterpiece,based on the Arthur Miller play, libretto by Bernard Stambler. Cast and chorus of

TROY 1656/57 Purchase Opera’s acclaimed 2016 production, Jacque Trussel, artistic director, are led by Hugh Murphy, conducting the Purchase Symphony Orchestra. John Ostendorf, recording producer. PURCHASE OPERA OPERA PURCHASE

Bryan Murray Rachel Weishoff Sylvia D’Eramo Soraya Karkari Iris Rogers Christopher Jones John Proctor Elizabeth Proctor Abigail Mary Warren Rebecca Thomas Putnam

PURCHASE OPERA PURCHASE

HughPHOTO: Peter Schaaf Murphy Joshua Benevento Ryan Capozzo Colin Whiteman Cara Collins John Downey Derya Kayaalp Conductor Judge Danforth Reverend Parris Reverend Hale Tituba Giles Corey Ann Putnam TROY 1656/57 Albany Records U.S. John Ostendorf, Recording Producer 915 Broadway, Albany, NY 12207

THE CRUCIBLE Stephen J. Epstein, Engineer Tel: 518-436-8814 FAX:518-436-0643 Jacque Trussel, Opera Producer Albany Records U.K. Bonnie Hamilton, Recording Consultant Box 137 Kendal, Cumbria LA80XD STATE UNIVERSITY OF NEW YORK Tel: 01539 824008 Margaret Vignola, Production Coordinator Zoë Markwalter, Production Photography Warning: Copyright subsists in all recordings issued under the label © 2017 Albany Records Published by Highgate Press, a Division of ECS Publishing.

WARD Made in the USA. www.albanyrecords.com Recorded 2016 SUNY Purchase, School of Music Recital Hall