Hexenjagd (The Crucible)

by Arthur Miller
German Translation by Hannelene Limpach and Dietrich Hilsdorf, Collaboration: Alexander F. Hoffmann

Currently no Performances

1 hr 50 min
no break

The true insanity of witch hunts lies in its logic of confessions: If you confess, you turn yourself into a witch, you confirm the rumour – and you call out the names of others. If you stick to the truth, you are hanged. Arthur Miller’s play is based on the witch trials of Salem, Massachusetts, which claimed hundreds of lives in 1692. But it was also written as a response to the McCarthy-era of the early 1950s in the US. By means of the persecution of communists, a social climate of fear was generated which allowed taking action against all critics or anyone who belonged to the opposition. Thus, Miller succeeds in describing a thoroughly contemporary dynamic: When public debates suddenly shift into friend-versus-foe formulas, critics are silenced and courts of justice are instrumentalised, it is the beginning of a dangerous radicalisation.

We regularly present performances of "The Crucible" with English surtitles. You can find the dates here. Our box office staff will be happy to tell you from which seats you will have a good sight-line to the surtitles. For the best view of both stage and surtitles, we recommend seats in the stalls (Parkett) from row 11, or in the balconies (1. Rang, 2. Rang). Seats in the side boxes have a partially obstructed view.

Casts & Staff

as John Proctor
as Elisabeth Proctor
as Mercy Lewis
as Abigail Williams
as Marry Warren
as Tituba
as Betty Parris
as Thomas Putnam
as Samuel Parris
as Giles Corey
as Rebecca Nurse
as John Hale
as Richter Hathorne
as Danforth, Stellvertreter des Gouverneurs
as Ezekiel Cheever
as Chormitglied
as Chormitglied
as Chormitglied
as Chormitglied


4 Pressestimmen

"In der Druckkammer der Lügen: Die slowenische Regisseurin macht aus Arthur Millers Stück ein klaustrophobisches Kammerspiel."

Berliner Morgenpost

"Wie gekonnt diese Mädchen ihre Hysterie vorspielen, mit jener Mischung aus lolitahafter Erotik und zelotischem Wahn, das treibt einem die Angst in die Knochen."

Frankfurter Allgemeine Zeitung

"Starke Inszenierung"

RBB Inforadio

"Bei Mateja Koležnik baut sich das sehr klar und konzentriert auf, und das Bühnenbild ist dabei extrem hilfreich. Die verschachtelte Enge ist einerseits determinierend für das Spiel und erweitert gleichzeitig die Möglichkeiten für eine Akzentuierung unterschiedlicher Perspektiven, die die Regisseurin ausgiebig nutzt."

Berliner Morgenpost