Review: John Proctor Is A Villain, Royal Court ****

The cast of John Proctor is a Villain, Royal Court Theatre, Sloane Square, London — The cast of John Proctor is a Villain
Photo credit: Camilla Greenwell

Review: John Proctor is a Villain at the Royal Court, a re-evaluation of the crucible

The Royal Court Theatre has always been a home for the disruptors, and there is a lovely sense of homecoming in Kimberly Belflower’s John Proctor Is the Villain. Having studied in the United Kingdom, Belflower long held an ambition to see her work on this specific stage, and it feels appropriate that her play arrives during the theatre’s 70th anniversary. It creates a fascinating dialogue with the Court’s own history, specifically its 1956 premiere of The Crucible. Drawing from her own upbringing in a small town similar to the Georgia setting of the play, Belflower brings a grounded, lived-in authenticity to this exploration of power and perspective.

The story centres on a group of high school students in 2018 who are dissecting Miller’s classic just as the #MeToo movement begins to shake the foundations of their own community. While the play takes a little while to warm up as the classroom dynamics settle, the wait is entirely worth it. The writing is incredibly perceptive about the messiness of real life, where relationships are rarely simple and the truth is often obscured by loyalty or fear.

At the heart of this emotional whirlwind are Shelby and Raelynn, played with exquisite sensitivity by Sadie Soverall and Miya James. Their bond is the production’s anchor. We see them teetering on the precarious edge between despair and hope, yet they remain fiercely bound together. Their performances capture that specific teenage intensity where a friendship is not just a social connection but a lifeline.

The adult characters add a compelling layer of ambiguity. Dónal Finn’s teacher, Carter Smith, is more than just a flawed mentor; he embodies the central tension of the play. Like the historical figures in the Salem trials, we are left wondering whom we should truly believe. This uncertainty extends to off stage figures like Ivy’s father. Suspicions are laid and questions are left unanswered, which challenges a fledgling feminism by showing that the world is messy and relationships are hard to define.

A particular highlight is the portrayal of the young men in the class. Charlie Borg and Reece Braddock, both making their professional stage debuts, are wonderful as Lee and Mason. They perfectly capture the ill ease and awkwardness of the teenage boy years, navigating their changing world with a mixture of confusion and tentative sincerity. Their performances add a vital layer of fairness to the play; they are not mere caricatures but young people trying to find their footing in a shifting moral landscape.

Director Danya Taymor keeps the energy high, leading to a conclusion that is as haunting as it is hopeful. As Lorde’s Green Light fills the space, we watch Holly Howden Gilchrist’s Beth. There is a beautiful, lingering tension in the air as we wonder if she might, just might, finally let go and join the others.

The atmosphere in the theatre was remarkably positive, with a largely young crowd that felt deeply connected to the struggles on stage. While the subject matter is serious, the production remains a pleasurable and insightful lesson in the power of empathy. It is a four star triumph that respects its characters’ humanity while fiercely questioning the status quo. It is well worth the trip to Sloane Square to see a new generation reclaim its name.

RUNNING TIME: 1 hour 45 minutes (with no interval)

AGE GUIDANCE: 12+

The show has sensitive content including depictions of grooming and abusive relationship dynamics, descriptions of sexual assault, the depiction of a forced kiss, and racist and sexist microaggressions.

1692: The History. The Salem Witch Trials begin in colonial Massachusetts. Over 200 people are accused; 19 are hanged. Among them is the real John Proctor, a 60-year-old farmer who becomes the central figure of Miller’s future play.
1953: The Allegory. Arthur Miller’s The Crucible premieres on Broadway. Written during the height of McCarthyism, Miller uses the Salem “witch hunts” as a thinly veiled critique of the anti-communist blacklisting ruining lives in the 1950s.
1956: The Royal Court Connection. The Crucible makes its London debut at the Royal Court Theatre during the venue’s first-ever season, cementing it as a cornerstone of British theatrical canon.
2017–2018: The Spark. The #MeToo movement goes global. In a small town in Georgia, USA, high school students begin studying The Crucible just as their own community is rocked by scandals involving power, consent, and “believing women.”
2022: The Premiere. Playwright Kimberly Belflower’s John Proctor Is the Villain premieres at Studio Theatre in Washington, D.C., instantly hailed for its “furious, pop-fueled” take on teenage girlhood.
2025: The Broadway Smash. The play opens on Broadway starring Sadie Sink. It earns seven Tony nominations and sparks a massive cultural debate over whether John Proctor is a “tragic hero” or a predator.
2026: Full Circle. The UK premiere opens at the Royal Court Theatre (running until April 25). Directed by Danya Taymor, it returns the “Proctor” narrative to the very stage where it first arrived in London 70 years prior.