Abigail’s Coven is a refreshing new take on Arthur Miller’s The Crucible with all of the characters played by amateur teenage actors. It is the first part of a look into human nature and the corrosive desire of man from Drama with a Difference.

The play, adapted by Alisha Redmond, follows a group of children in the religiously fervent town of Salem, Massachusetts in 1692, as they innocently start a wide-spread hysteria against so-called ‘witches’. Loosely based on the real-life ‘Salem witch trials’, this interpretation takes us behind the pivotal scenes of the original and instead explores the impact that the events have on the children.

In contrast to the original, Abigail’s Coven becomes less about the meaning of truth and how it can be morphed by faith and ideology, but more about the corruption of innocence by our desires. The leader of the pack, Abigail (Charlotte Jones), is especially blinded by her desires to seek revenge against those who have wronged her and eventually, the children join her without being entirely sure why.  Mary Warren (Madeline Kleores), on the other hand, seems to have become so entranced by the lies of witchery in the town that she begins to believe them.

Perhaps, the largest divergence from the original screenplay is the inclusion of several monologues scattered throughout the action. A single spotlight illuminates their faces and the audience seem to be spoken to. Yet, it is not just them speaking to themselves, but their true feelings being manifested in a physical form. What is truly impressive is that all of them were written by the teenagers that performed them. One, for instance, quite profoundly expresses a boy’s (Callum Cheah) heartbreak when the girl he thought loved him wants another man.

It is obvious that these teenagers have truly connected with each of their characters and there is something so unfettered about their acting. It is this naturalistic way that the children conduct themselves around such a dark subject matter which allows the audience to feel more at ease. Although, there are times where the children give a very real and adult reaction to the events of the play.  It is here where the essential dialectic between the untouched happiness of childhood and the absurdity of man, law and religion emanate.

While it may be jarring for those aware of the original to have major scenes happen off-stage or be referred to off-hand, it is a necessary decision so that the children’s reactions can be captured.  However, this shortening of the play naturally leaves certain essential facts rushed over or not touched on at all and therefore, often does not confront the themes head-on. Regardless, the play is very enjoyable, as the focus is less on the exact details of the plot and more on the overall thematic and character-based arcs. However, it does not get bogged down in the philosophy or psychology of The Crucible and just allows for the passion of the action to shine through.

While it is only one piece of a whole, Abigail’s Coven is a fun and modern take on a classic play. For anyone completely unfamiliar with the original, this would be an interesting introduction, full of childish wonder amongst some very dark themes and a simplistic style.  Yet, it is the acting which stands out as the star and the innocence of childhood both expressed within the play and without it.

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