It may seem that Miller’s allegory of mass hysteria is trapped in 1950s America, or even in 17th century colonial America when the play is set, but in fact, it continues to hold relevance. Watching Lyndsey Turner’s eerie and bleak adaptation of “The Crucible” at the National Theatre, the parallels are clear. Although specifically targeted at an American society indoctrinated by senator Joseph McCarthy’s anti-communist witch hunt, the play strikes a chord with our political sphere laden with conspiracy theories. From Alex Jones’ defamation of Sandy Hook Parents to right-wing fearmongering about minorities like in the Great Replacement theory, “witch hunts are still with us in modern conspiracy theories”, says Clare Birchall, Professor in Contemporary Culture at King’s College London. 

Let us not forget that McCarthy’s anti-communist witch hunts were riddled with antisemitism, which certainly does not feel distant. According to Arnold Forster, a previous member of the general counsel at the Anti-Defamation League, “There was scarcely a professional American anti-Semite who had not publicly endorsed the senator”. McCarthy was even known by his friends to pull out “Mein Kampf” saying, “that’s the way to do it”. Such examples of antisemitic stereotypes continue to plague hyperbolic conspiracy claims, especially when they place suspicion on “elites”, such as George Soros. 

And yet, there are certain ideological themes of the play that differ from current culture. Accurate with the history of the trials, the play takes place in Salem, Massachusetts. This 1626-established Puritan colony promoted Calvinism (a branch of Protestantism that promotes predestination), which set the precedent for the preference for confessions of guilt over assertions of innocence during the trials; if God has already determined your sins, then the only virtuous option is to acknowledge them. In a time of “cancel culture” via social media platforms, it seems we no longer hold repentance in the same esteem; instead, we reject wrong doers, no matter their apologies. When over 40,000 people retweet #JusticeForJohnnyDepp, it is also apparent that our society, unlike Salem and McCarthyism, cherishes proven innocence. Undoubtedly, John Proctor, Miller’s protagonist who refuses to profess his culpability, if alive today, would not be forced into martyrdom. 

Therefore, while “The Crucible” has regrettable relevance due to widespread digital disinformation, there are enough differences for a contemporary audience to enjoy the escapism of the theatre.