Cyberbullying Witch Hunts 

The Burn – Steppenwolf Theatre

 

Arthur Miller wrote his epic masterpiece drama about the paranoia generated by several children, in late 17th century Salem, Massachusetts, during which adults were accused of being witches. It was the playwright’s personal reaction to the spread of McCarthyism in the late 1940’s, which resulted in the kind of witch-hunts that ruined the lives of so many innocent people.

Philip Dawkins has brilliantly taken this idea and dropped it into the 21st century. His 90-minute world premiere is a contemporary version of how devastating and out-of-control intimidation among children has become. The playwright succinctly, yet emotionally, portrays the way social media has opened the door for modern day witch-hunts. Facebook, Twitter and all the other methods of electronic communication have enabled the kind of anonymous power that contributes to cyberbullying. The lines between truth and fiction have been blurred through addictive internet use. Steppenwolf Theatre’s theme for this season of Young Adult productions focuses on “When Does a Lie Become the Truth?” This thought-provoking question is the topic of each of these powerful plays.

In Dawkins’ play, a bright, young girl named Mercedes has recently moved to a particular Chicago public school, following a tragic incident that’s robbed her innocence and challenged her strong religious beliefs. Among her classmates, Mercedes finds a group of vicious, shameless girls, led by Tara and her followers Andi and Shauna. The girls constantly remind Mercedes that she’s an outsider at this school. They mercilessly use social media to degrade, intimidate and torment her. Erik is their empathetic English teacher. He tries very hard to connect with all his students, particularly through great literature. As the play opens Erik is discovered using Arthur Miller’s drama in his class to teach the destructive power of spreading lies. When Erik decides to make this lesson more meaningful by directing a production of “The Crucible” at his school, he doesn’t anticipate how his students will turn their online bullying into a cyber witch-hunt that attacks both Mercedes and himself.

This profoundly important play, and the electrifying production directed by Devon de Mayo, will hit home with audiences of all ages. Particularly, it should open the eyes and challenge the feelings of middle and high school theatergoers, for whom the play was written. This is their world and it’s so easy to be seduced by the power of social media and to allow it to become a forum for bullying and persecution. For audiences familiar with “The Crucible,” the way in which Philip Dawkins has melded the dialogue and theatrical styles from both plays is genius. In the character of Mercedes we have a modern-day Mary Warren, trying to live a good life by following her heart but pressured by the world around her to give in to threats. Tara, as the queen of the Mean Girls, is a contemporary Abigail Williams, an angry, vindictive leader of her gang. She’s manipulative and knows she possesses the power to create and destroy. Erik is the lone adult in this play and he becomes a surrogate for both John Proctor and Reverend Hale.

The cast is fantastic. Erik Hellman, one of Chicago’s finest actors, gives a moving, honest portrayal of a teacher who really cares about his students as people. As Erik, he’s not simply an instructor, merely following a syllabus and checking homework. He’s a human being who has a special rapport with his many of his students. Erik tries hard to teach his kids about life and how to be the best they can be. Mr. Hellman is the teacher we all wish we had in school. The role of Erik, however, will be played by Pat Whalen, beginning March 6.

Phoebe Gonzalez makes Mercedes all her own. As the sweet, soft-spoken new student at this school, who harbors her own tragic secrets, religion is this teenager’s refuge. When Erik offers her his friendship and advice, Mercedes begins to finally feel that, despite being picked on by the other students, she may be all right in this new school. Erik convinces his student to audition for “The Crucible” and there Mercedes finds friendship with Shauna (an excellent Dyllan Rodrigues-Miller), one of her cast mates. Played with high energy and rapid-fire delivery, Birgundi Baker is frightening as the power-wielding Tara. She holds every other character in the palm of her hand and knows how to strike terror in her minions, especially Andi, beautifully played by Nina Ganet.

In addition to Devon de Mayo’s dynamic, spirited staging, filled with synchronized, choreographed movement and choral dialogue, there’s a host of technical effects that make this production so spectacular. Courtney O’Neill’s sparse scenic design works hand-in-hand with the shifting, colorful projections created by Rasean Davonte Johnson. Heather Sparling’s lighting design embraces the soundtrack composed by Sarah Ramos. All of these elements are inseparable and add so much to this production. Melissa Ng’s contemporary costumes add so much to each character, as well.

Audiences familiar with Arthur Miller’s “The Crucible” will marvel at how seamlessly playwright Philip Dawkins has both updated that script and paid homage to the classic. This is a powerful story of how lies can sometimes turn into the truth and how bullying, especially through social media, affects so many young people these days. This is an important play, brilliantly acted and produced, that will move audiences of all ages, inspire conversation and won’t soon be forgotten.

Highly Recommended

Reviewed by Colin Douglas

 

Presented February 16-March 10 in their Upstairs Theatre by Steppenwolf Theatre, 1650 N Halsted St., Chicago.

Tickets are available in person at the box office, by calling them at 312-335-1650 or by going to www.steppenwolf.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.