OF JUDGE DANFORTH I N ROBERT WARD'S THE CRUCIBLE
by
N E I L EDWARD WRIGHT
B.Mus., U n i v e r s i t y o f O t t a w a , 1 9 9 5
A THESIS SUBMITTED I N PARTIAL FULFILLMENT OF
THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF MUSIC
in
THE FACULTY OF GRADUATE STUDIES
(School o f Music)
We a c c e p t t h i s t h e s i s a s c o n f o r m i n g
to the r e q u i r e d
standard
THE UNIVERSITY OF BRITISH COLUMBIA
A p r i l 2001
©
N e i l Edward W r i g h t , 2 0 0 1
In presenting this thesis in partial fulfilment of the requirements for an advanced
degree at the University of British Columbia, I agree that the Library shall make it
freely available for reference and study. I further agree that permission for extensive
copying of this thesis for scholarly purposes may be granted by the head of my
department
or by his or her representatives.
It is understood that copying or
publication of this thesis for financial gain shall not be allowed without my written
permission.
Department of
C* \ 0 £ i C-
The University of British Columbia
Vancouver, Canada
DE-6 (2/88)
UB
MUSIC
The Crucible
An o p e r a in four acts based on the play by A r t h u r Miller
Music by Robert W a r d
Libretto by Bernard
Stambler
with
T h e U B C O p t r a Ensemble
The U B C Symphony
&
Orchestra
Conductor - Jesse Read
Stage Director. - Nancy Hermiston
Musical Director - Richard Epp
Set & Costume Design by Alessia Carpoca
Light Design by Jeremy Baxter
I here w i l l he o n e I w c i i l y - i n i n u l c i n l c r m i s s i o n
Chan Shun Concert Hall
March 1, 2, 3, 4, 2001
THIS PRESENTATION IS MADE POSSIBEE BY GENEROUS ASSISTANCE THROUGH THE
CHAN ENDOWMENT FUND OF THE UNIVERSITY OF BRITISH COEUMBIA
JE( M U S I C
The Crucible
An o p e r a in four acts based on the play by Arthur Miller
Music by Robert W a r d
Libretto by Bernard Stambler
with
The U B C Opera Ensemble &
The U B C Symphony Orchestra
Conductor ~ Jesse Read
Stage Director - Nancy Hermiston
Musical Director - Richard Epp
Set & Costume Design by Alessia Carpoca
Light Design by Jeremy Baxter
There will be one twenty-minute intermission
Chan Shun Concert Hall
March 1, 2, 3,4,
2001
THIS PRESENTATION IS MADE POSSIBLE BY GENEROUS ASSISTANCE THROUGH THE
CHAN ENDOWMENT FUND OF THE UNIVERSITY OF BRITISH COLUMBIA
A Message from the Conductor and
Director of the U B C School of Music
Welcome HI a memorable night ol opera!
I hope you will savor
this evening, the ideal kind ol theatre experience, an opera based
on a great piece of dramatic art-Arthur Miller's striking play, a
score from a legendary composer who has graced tis with his presence, a sharply-defined visual and theatrical setting which c o m pliments and supports the story, all performed by the singers and
musicians from what is emerging as the most exciting opera training program in Canada! We are proud of this production, excited that U B C , the
School of M u s i c and the Department of Theatre, Film and Creative W r i t i n g can
collaborate again to bring you into its midst.
As the Director of the School and
conductor of tonight's performance, I share your excitement, enthusiasm and sense
of appreciation for the talent and dedication necessary to give birth to such a moving and dramatic production. T h a n k you for joining us.
Warm wishes,
Jesse Read ~ Conductor, Director U B C School of M u s i c
A Message from the Head of
Theatre, Film and Creative Writing
T h e P e r f o r m i n g A r t s are too o f t e n assumed to be just entert a i n m e n t . T h e a t r e in all its f o r m s , has been a c r u c i a l part o f
o u r societal d e v e l o p m e n t , w i t h a n i m p o r t a n c e far b e y o n d
the m e r e l y d i v e r s i o n a r y .
1950,
The Crucible
is a case i n p o i n t .
In
tbe p l a y was A r t h u r M i l l e r ' s response to a social injus-
tice, a n d it gave us a p i c t u r e of b o w we behave i n tbe throes
o l p o l i t i c a l hysteria.
R o b e r t W a r d ' s operatic w o r k makes this p i c t u r e even
m o r e p o i g n a n t a n d m o r e accessible to an even broader a u d i e n c e .
The D e -
p a r t m e n t o f T h e a t r e , F i l m a n d C r e a t i v e W r i t i n g is prottd to j o i n w i t h the
O p e r a P r o g r a m to present this classic, relevant a n d i m p o r t a n t story.
R o n Fedoruk - H e a d o f Theatre, F i l m and Creative W r i t i n g , U B C
5
About the-Composer
Robert Ward was horn in 1917 in Cleveland, Ohio. I tc studied with
Howard Hanson and Bernard Rogers at the Eastman School of Music;
with Frederick Jacobi, Bernard Wagenaar, Albert Stoessel and Edgar
Schenkman at the Juilliard Graduate School, and with Aaron Copland
at the Berkshire Music Center. He has served on the faculties of Queens
College, Columbia University, and the Juilliard School of Music where
he was also Assistant to the President from 1952 to 1956. He was the Director of the
Third Street Music School Settlement from 1952 to 1955.
He was Executive Vice-Presi-
dent and Managing Editor of Galaxy Music Corporation and Highgate Press until 1967
when he became President of the North Carolina School of the Arts. Until his retirement in 1987, he was the Mary Duke Biddle Professor of Music at Duke University.
Mr. Ward's large and distinguished musical creation has, in large measure, been commissioned by the New York City Opera, Broadcast Music. Inc., the New York Philharmonic, the Friends of Dumbarton Oaks, the Juilliard Musical Foundation, and many
others. His opera, The Crucible, based on the play by Arthur Miller, won both the 1962
Pulitzer Prize for Music and the New York Music Critics Circle Citation for the same
year.
A Message from the Director
Robert Ward's opera The Crucible gives us pause to think of our
own human strengths and weaknesses. We have chosen to give the
piece no fixed period as the issues addressed by this very moving
work arc ones which have remained with us long before and long
after those Puritan days of Salem. One needs only to look into our
history books, listen to the 6:00 o'clock news, enter some schools,
universities, colleges or even some courts and churches to see that
mass hysteria, mob mentality, persecution, jealousy, hatred, sexual repression, and
the darker sides of power and love are as present now as they were in Salem or in
Miller's 1950 U.S society. Through this most disturbing and inspiring work both
Miller and Ward provide us with the opportunity to find, as does John Proctor, "that
shred of goodness" in ourselves.
When asked what the opera has to say to modern audiences, Robert Ward replied: "We think events like the Salem witch trials or the McCarthy hearings can't
happen again, but as we look around us in the world, we see the same conditions
recur again and again."
It is a great honour and privilege to have the composer with us for this production.
Nancy Hermiston Director U B C Opera Ensemble
U B C OPERA
ENSEMBLE
T h e Opera Ensemble and I would like to thank you for your continued support and interest. T h e 2000/2001 season has been a most exciting and active one.
O u r collaboration with the Opera House in Usti nad Labem, Czech Republic,
was a most successful and rewarding venture. A highlight of our European schedule was our performances o f Gdrtnerin aus Liebe in the Stovosky Theatre, Prague,
where Mozart premiered his Don Giovanni.
A further consequence of this venture was the collaboration between the Usti
Opera House and the Opera Ensemble in this production o f The Crucible. O n
Sept. 2 1 , 2001 the Opera House in Usti will present the Czech premiere of The
Crucible with this production featuring a C z e c h / U B C Opera Ensemble cast.
We return to Usti in M a y and June to perform three operas, Gounod's, Faust
in French, Janacek's The Cunning Little Vixen in Czech, and Mozart's Gdrtnerin
aus Liebe in German. Internationally renowned conductor David Agler will conduct the Faust performances while Usti's General M u s i c Director; Norbcrt Baxa
will lead the Vixen and Gdrtnerin. T h e Ensemble will complete its tour at the
International Festival for Young Opera Singers in the University town of Erlangen,
Germany with a performance o f Gdrtnerin aus Liebe o n July 1, Canada Day.
A l o n g with their colleagues from Usti the Ensemble will share this Festival with
singers from Italy and Germany.
O u r season has also included the annual David Spencer Memorial concert,
our Christmas production o f Hansel and Grctel, many community concerts and a
tour to Cranbrook, B . C . with our shortened school version of Hansel and Gretel,
where approximately 1500 children attended our performances. In addition, we
participated with Italy's Ruggiero Ensemble i n a production o f Monteverdi's //
Rilorno d'Ulisse di Patria.
After The Crucible we will join the Choral Union and W i n d Symphony for
Operatic excerpts Mar. 23 & 24 and present three evenings of Operatic Bon Bons
on Apr. 20, 2 1 , & 22 in the O l d A u d i t o r i u m , featuring excerpts from Faust,
Olello, Romeo and Juliette, Hamlet and Sir John In Love, with guest directors,
Irving Guttman and M a r i H a h n .
- Nancy Hermiston
T H E OPERA ENSEMBLE
EXECUTIVE
RHONWEN ADAMS
ALEXIS BARTHELEMY
MELISSA BENCIC
KATY BOWEN-ROBERTS
NEEMA
BICKERSTETH
JEANINE FYNN
RHOSLYN JONES
RILEY M C M I T C H E L L
JANET VANDERTOL
JUSTIN WELSH
The Crucible
by Robert Ward
Cast
March 1 & 3
March 2 & 4
Betty Parris
Katy Bowen-Robercs
Dory Hayley
Reverend Parris
Russell Robson
Phillip Grant
Tituba
Beverly McArthur
Katherine Landry
Abigail Williams
Melanie Krueger
Mari Hahn
Ann Putnam
Shauna Martin
Cindy Koistinen
Thomas Putnam
Elio Catana
Krzysztof Biernacki
Rebecca Nurse
Jeanine Fynn
Suzanne Abbott
Francis Nurse
Joel Klein
Pierre Hungr
Giles Corey
Craig Johnson
Neil Wright
John Proctor
* G i l Anderson
"Andrew Greenwood
Reverend Hale
David~Jefferies
Shae Apland
Elizabeth Proctor
Alexis Barthelemy
Sandra Stringer
Maaike deBruyn(March 1st]
Sheila Christie [March 3rd]
Neema Bickersteth
Ezekiel Cheever
Ian Paul
Alex Good
Judge Danforth
Neil Wright
Philippe Castagner
Sarah Good
Elaine Lee
Ruth Putnam
Jinny Park
Rhoslyn Jones
Susanna Walcott
Mia Harris
Paula MacNeil
Mercy Lewis
Soula Parassidis
Alexandria Beck
Martha Shelton
Charis Vanelst
Rosa Nam
Bridget Booth
Rhonwen Adams
Katie Cross
Mary Warren
_ Elizabeth Cushnic
*by permission of Canadian Actor's Equity Association
Chorus
Stephen Bell
Jerome Dubois
Jeannette Gibault
Andrew Jameson
A m y LaFroy
Steven Rathjen
Michael Mori
Mark Sampson
Janet Vandertol
ORCHESTRA
VIOLIN 1
+Alycia Au
Ruth Huang
Evet Bo-Kyoung Kim
Adrian Dyck
Amanda Hsueh
James Wei
Angela Hodgson
Amy Pei
Amelia Mori
Jenny Atkinson
Ruth Houtman
VIOLIN 2
'Gillian Mo tt
Brooke Day
James Hill
Denisc Ng
Jessica Wan
Trevor Pearce
Vincent Wong
Phyllis Ho
Heather Liau
Jack Tsai
VIOLA
•Beth Schaulcle
Aaron Butler
Szabolcs Kabok
u/annc Schweilde-Davey
Gillian Hunter
CELLO
'Colin Giles
Dicdcrik van Dijk
Anne Davison
Seung Young Song
Lucas Wong
Sarah Tippett
Alexandra Sia
! Hsin-Pei Liu
BASS
* Lean na Wong
Peggy Tong
Jennifer Chu
Jessy Giammarino
FLUTES
*Tara Whittaker
Greg Kirczenow (piccolo)
OBOE & ENGLISH HORN
Marisa Chang
CLARINETS
* Eileen Walsh
Jennifer McEnhill
Amanda Beatty (bass clarinet)
BASSOONS
Meghan Dahl
HORNS
'Megan Smith
David Quackenbush
TRUMPETS
'Meghan Turner
Chris Mitchell
BASS TROMBONES
Peter Waldkirch
TIMI'ANI & PERCUSSION
Bruce Henczel
LIBRARIAN
Peggy Wong
MANAGER
Colin Giles
+ CONCERT MASTER
* SKGTION LEADER
9
PRODUCTION
FOR T H E OPERA DEPARTMENT
MUSIC DIRECTOR
RICHARD EPP
REPETITEURS
DANIEL CHOW
DONNA FALCONER
BRETT KINGSBURY
TECHNICAL DIRECTOR
CAMERON MCGILL
TECHNICAL COORDINATOR
JASON BOSHER
WICS
ELKE ENGLICHT
HEAD OF PROPERTIES
VALERIE MOFFAT
PROP BUILDER
MAKE-UP
NEL VOLR1CH
LIGHTING ASSISTANT
MIKE INWOOD
LIGHTING BOARD OPERATOR
JEREMY BAXTER
PAINTERS
GENNIEWILLOUGHBY-PRICE
COSTUMES
OPERA HOUSE , USTI NAD LABEM,
CZECH REPUBLIC
COSTUME COORDINATOR
LYDIA HIEBERT
PRODUCTION
STAGE MANAGER
PEGGY JAMESON*
ASSISTANT STAGE MANAGERS
APRIL LAWRENCE
MAYA SANDERS
STAGE CREW
LAURA PARSON
STACY LANDERS
FOR T H E THEATRE DEPARTMENT
TECHNICAL DIRECTOR
IAN PRATT
PRODUCTION MANAGER
ROBERT EBERLE
PROPS SUPERVISORS
JANET BICKFORD
LYNN BURTON
COSTUME SUPERVISORS
JEAN DRISCOLL-BELI.
STAGE CARPENTERS
JIM FERGUSSON
DON GRIFFITHS
JAY HENRICKSON
BUSINESS MANAGER
MARIETTA KOZAK
COMMUNICATIONS
JOAN WELLWOOD
POSTER DESIGN
JAMES A . GI.EN
B o x OFFICE
GERRY BRATZ
OFFICE SUPPORT
G . VANDERWOUDE
PROGRAM LAYOUT
Media Sponsors
CBC«j|f» r a d i o ^ ^
/ O S ?
'Cmics.
MARYKE FLAMELINC
Am Bnoml
ACKNOWLEDGEMENTS
The Chan Family, Michael Noon
The Vancouver Opera, The Vancouver Playhouse, The Arts Club Theatre, Valerie Moffat,
School of Music Office Staff, Phyllis Lavalle and The Friends of U B C Opera, David
Spencer Endowment Encouragement Fund, Enchanted Florist, Ian Pratt, Thomas
Thompson, U B C Opera Ensemble, The Moving Guys, and
Jim Wright General Director of The Vancouver Opera
A Special Thank You to the Vancouver Opera Guild for their donation to this production.
The Crucible
~ Synopsis
Act I
T h e c u r t a i n rises o n the R e v e r e n d S a m u e l Parris k n e e l i n g d i s t r a u g h t at the b e d of
his d a u g h t e r Betty. She lies i m m o b i l e a n d scarcely b r e a t h i n g , as she has l a i n since
Parris c a m e u p o n her a n d her c o u s i n A b i g a i l d a n c i n g i n the w o o d s the n i g h t before.
T i t u b a c o m e s to ask a b o u t B e t t y b u t is a n g r i l y sent away.
A b i g a i l enters to say that the t o w n is w h i s p e r i n g o f w i t c h c r a f t a n d that Parris s h o u l d
go o u t to m a k e d e n i a l . H e b i t t e r l y turns o n her to q u e s t i o n her a b o u t the d a n c i n g a n d
a b o u t her m y s t e r i o u s d i s m i s s a l f r o m the service o f the P r o c t o r s . A s she v e h e m e n t l y
denies any w r o n g d o i n g , a t t r i b u t i n g her dismissal to G o o d w i f e Proctor's arrogant desire for a slave, the P u t n a m s enter to tell that their R u t h was s t r i c k e n at the same t i m e
as Betty Parris a n d that they have sent to B e v e r l y tor the R e v e r e n d H a l e , k n o w n for his
skill m discovering witches.
W h i l e Parris,
f e a r f u l
of any suspicion of
w i t c h c r a f t
in his o w n h o u s e h o l d , is a n x -
iously d o u b t i n g the need for H a l e , Rebecca a n d I'Vancis N u r s e enter w i t h G i l e s C o r e y .
Rebecca is c o m f o r t i n g , o l d G i l e s is f l i p p a n t about
the illness o f the girls. W h e n P u t n a m insists that
w i t c h e s are at w o r k i n S a l e m , G i l e s accuses h i m of
u s i n g a w i t c h scare to d e f r a u d his neighbors o f their
l a n d . J o h n Proctor's entrance o n l y b r i n g s this q u a r rel to a h i g h e r peak. ( A b i g a i l , t h o u g h silent i n the
u p p e r r o o m , v i s i b l y reacts w i t h e x c i t e m e n t to J o h n s
entrance.) Rebecca r e p r i m a n d s the m e n for this u n t i m e l y squabble i n a house o f illness, a n d calls t h e m
b a c k to their senses. G i l e s departs w i t h J o h n .
T h e y s i n g a p s a l m to beseech G o d ' s h e l p . A s the p s a l m proceeds, B e t t y begins to
w r i t h e o n the b e d a n d t h e n w i t h an u n e a r t h l y shriek tries to fly o u t o f the w i n d o w .
T h e y r u s h to her side. In the m i d s t o f the c o m m o t i o n the R e v e r e n d H a l e enters. H e
calms t h e m w i t h his air o f a u t h o r i t y a n d t h e n m e t h o d i c a l l y sets an i n q u i r y u n d e r way.
H e ' s o o n learns that T i t u b a has p l a y e d an i m p o r t a n t role i n w h a t has been h a p p e n i n g ,
h a v i n g also been present at the d a n c i n g . A n n P u t n a m asserts that T i t u b a k n o w s c o n j u r i n g . T i t u b a is sein for; at her e n t r a n c e , A b i g a i l , w h o has been u n d e r severe i n q u i s i t i o n by H a l e , lashes o u t to accuse T i t u b a of c o m p a c t i n g w i t h the D e v i l . T i t u b a , overw h e l m e d by the sternness o f H a l e a n d the m a l e v o l e n t i n t e n s i t y o f Parris a n d the
P u t n a m s , finally confesses that she has been visited b y the D e v i l , b u t denies that he
lias persuaded her i n t o a n y w r o n g d o i n g - f o r a few m o m e n t s she frightens Parris a n d
the P u t n a m s w i t h a heartfelt fantasy o f the h e l l i s h p o w e r to b r i n g t h e m h a r m that the
D e v i l h a d offered her.
W i t h Tituba's confession the spell over B e t t y is b r o k e n . A l l return to the p s a l m i n
great t h a n k s g i v i n g , w h i l e A b b y envies the a t t e n t i o n n o w b e i n g given to T i t u b a , hysterically repents her o w n c o m p a c t w i t h the D e v i l , a n d v i s i b l y receives a n answer to her
prayer for forgiveness a n d for a call to m a r k o u t others o f the D e v i l ' s crew.
Act II
John Proctor returns from a clay's planting to find Elizabeth listless and moody. In
her mind the witch trials have become an aggravation of her domestic troubles, with
Abby at the center of both. She insists that John expose Abby's fraud to Judge Danforth;
his reluctance to do this convinces her that he still has a warm spot in his heart for
Abby. John's self-defense is double: that he has no witness to what Abby told him, and
that she will avenge herself by revealing John's adultery with her. And he is fed up
with Elizabeth's sitting in condemnatory judgment
upon him. She gently denies this but regrets the vanished sweetness of their love. Abby, she says, will
not confess the lechery lest she damn herself. And
what of those who suffer in jail because of John's
silence? No, John must tear the last feeling for Abby
out of his heart, or she will never give up hope of
some day having him for her own.
Mary Warren enters furtively from her day at court as one ol Abby's crew ol
witchfinders. She tells, breaking into tears, that the number of those arrested has
tripled-and that Goody Osborn has been condemned to hang! She is truly troubled
by this, and by her own part in it, but demonstrates how the mob excitement of the
courtroom procedure turns her into an hysterical accuser even against her own will.
When John threatens to whip her if she ever returns to that court she blurts out that
Goody Proctor herself has been mentioned in court and that only Mary's defense of
her prevented an outright accusation.
Elizabeth is sure that Abby is behind this and is once more pleading with John to
got o the court when Reverend Hale and John Cheever enter with a warrant for her
arrest: that very evening Abby has charged Elizabeth with employing a witch's poppet
to kill her. John makes Mary acknowledge it is her poppet, but Hale, although deeply
troubled by these new directions of the witch-hunts, feels that he must arrest Elizabeth for examination.
John is about to burst out wildly to prevent their taking Elizabeth away, but instead turns with intense but controlled passion upon Mary: she will tell her story in
court even though it may provoke a charge of adultery from Abby and ruin both
Abby and John complctcly-anything rather than that Elizabeth should be in danger
for his sake.
Act III
Scene I.
Abby, with a mixture of scheming but passionate love for John and a mystical
belief in her mission, tries to persuade John to abandon Elizabeth and to join her in
tbe holy work of cleansing the puritanically corrupt town. He will not listen to this,
but instead pleads that she free the town from the curse of her foolish wickedness, and
then threatens to expose her fraud. She defies him: now any dire fate that descends on
Elizabeth will be of his doing.
12
Scene 2.
Judge Danforth's invocation in court reveals the strength and fervor of his conviction that God's will is working through him to cleanse the land of a plague of
witches.
As court opens, Giles Corey accuses Thomas Putnam, in his greed for his
neighbors' land, of having bragged of his role in the charges of witchcraft. Judge
Danforth sends Corey to jail and torture for refusing to name his witnesses for this
accusation. There is a great hubbub as Giles leaps at Putnam as the man responsible
tor the arrest of his wife and himself, and of Rebecca Nurse as well.
John Proctor presents Mary Warren's deposition that the entire crying-out against
witches started only as an exciting game for the girls-and is a complete pretense and
fraud. But Abby, he says, has continued the game in an effort to dispose of Elizabeth. Her encouragement to this arose from the adultery that took place between
Abby and himself, which he is now confessing. When Elizabeth, ordinarily incapable of a lie, is brought in and fails to confirm John's confession; Abigail counterattacks, charging that Mary herself has turned witch. Mary, helpless and then hysterical, turns on John Proctor-accusing him of being the Devil's man who has forced
her into trying to confuse and overthrow the court. All but the Reverend Hale close
in on John Proctor with sadistic vindictivencss.
Act IV
Tituba and Sarah Good, crazed by the rigors of imprisonment, sing of the Devil
and his broken promises to them. Abby comes into the prison courtyard; she has
bribed the jailer to permit Proctor to escape. John, although broken by the months
of prison and torture, scornfully rejects the freedom and love she offers him. Abby
runs off weeping.
Hale, and then Parris, try to persuade Judge Danforth to postpone the executions of Proctor and Rebecca Nurse scheduled for that morning: Salem may break
into open rebellion at the execution of such respected citizens. Danforth indignantly refuses, but agrees to ask Elizabeth to persuade her husband to confess.
John is brought in and left alone with.Elizabeth. She tells him that Giles Corey
has died, pressed to death rather than say aye or nay to the charge of witchcraft, but
that many have confessed in order to save their lives. John reluctantly brings out his
own wish to confess-if it will not make her think ill of him for lying. Passionately
she" answers that it was her lie that doomed him-and that she wants him alive.
Exultant, he shouts that he will confess to the charge of witchcraft.
Danforth, Hale, and Parris rejoice-for their various reasons-over John's confession, and Parris tries
to persuade Rebecca, who has been brought in on
the way to the gallows, also to confess. She refuses
to damn herself with the lie. John is asked to sign
his confession, that it may be exhibited before the
town. But this is too much: he has deeply shamed
himself by confessing, but he will not set his hand to the destruction of his own
name-and the eternal shame of his sons. Hc tears up the document. In fury Danforth
orders John and Rebecca to be led out to execution. Hale pleads with Elizabeth that
she change John's decision while there is yet time. She refuses: "He has found his
name and his goodness now-God forbid I take it from him."
Images-and Texts about the Salem Witch Trials
A Modeft Enquiry
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Witchcraft
A N D
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under i n c T o w n H n u i e . i - w a
L e f t : t h e i n s i d e c o v e r ol".1 b o n k w r i t t e n b y R e v . I Into
o n the e x a m i n a t i o n o f w i t c h e s .
WARRANT FOR THE ARREST OF ELZABETH PROCTOR
AND SARAH CLOYCE (APRIL 4, 1692):
There Being Complaint this day made (Before us) by capt Jonat Walcott. and Lt
Natheniell Ingersull both of Salem Village, in Behalfe oftheire Majesties for themselfes
and also for several!, of their Neighbours Against Sarah Cloyce the wife of peter
Cloyce of Salem Village; and Elizabeth Proctor the wife ofJohn Proctor of Salem
farmes for high Suspition of Sundry acts ofWitchcrafi donne or Committed by them
upon the bodys of Abigail Williams, and John Indian both of Mr Sam parris his
family of Salem Village and mary Walcott daughterofthe abovesaid Complainants,
And Ann Putnam and Marcy Lewis of the famyly of Thomas Putnam of Salem
Vilhige whereby great hurt and dammage hath beene donne to the Bodys of s'd
persoris above named therefore Craved Justice.
You arc therefore in theire Majest's names hereby required to apprehend and
bring before us Sarah Cloyce the wife ofpeter Cloyce of Salem Village and Elizabeth
proctor the wife of John Procter of Salem farmes; on Munday Morneing Next being
the Eleventh day of this Instant Aprill aboute Eleven of the Clock, at the publike
Meetinghouse in the I'owne, in order to theire Examination Relateing to thepremesis
aboves d and here of you are. not to faile Dated Salem Aprill 8 'th 1692
To George Herick Marshall of the County of essex
John Hathorne
Jonathan Corwin
Assists
li
I lie Deposition ol Sam Parris, Nathaniel Ingersoll, and Thomas Putnam
[pictured hclow|
The Deposition of Sam: Parris aged about.39.years, & Nathanael Ingcrsol aged
aliout fifty & eight years, & Thomas Putnam aged about fourty years all of Salem tcstifyeth & saitli that John Indian, Ann Putm.in cV Abigail Williams & others of
llie bewitched persons were sever.ill (INKS CS: givivnti.sly loriured ai the Examination
of Elizabeth Proctor wife to John Proctor of Salem Earmcs before the Efonoured
Magistrates the. H'th April. 1692 . & particularly that Eliz: Hubbard was in a Trance
during the whole examination unable to speak a word tho often called upon by s'd
Magistrates, & also the said Abigail Williams & Ann Puiman then testifyed that they
saw this Eliz: Procior& her husband John Proctor severall limes affliclingol Bathshua
Pope the wife of Joseph Pope of Salem Yeoman, at which times the said Bathshua
Pope was seized with violent fits: & farthet that the said Abigail Williams & Ann
Putnam, both of them made offer to strike at said Eliz. Proctor, but when said Abigails
hand came near lo said Eliz: Procior ii opeiul (whereas it was made up inio a fist
before) is; came down exceeding lightly as it drew near to said Proctor, 6i at length
with open & extended fingers touche said Proctors hood very lightly, & immediately
said Abigail cryed out, Oh! my fingers, my fingers, my fingers burne, & Ann Putman
took on most greviously of her head, & sunk down, as far as she could being held up
by such as tended her.
- Nath: Ingatson and thorn. Putman did on their oaths owne this their testimonies to be the truth be fore the Juriors of Inques this 30 of June 1692.
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To learn more about the S a l e m Witch Trials, visil the website hltp://elext.virginia.edu/salem/witchcraft
SIEGFRIED JERUSALEM
(tenor)
IN
CONCERT
Renowned in Bayreuth circles for his masterful interpretation
of German opera and art song, the great Wagnerian tenor
makes a rare recital appearance at the Chan.
SATURDAY MARCH
17, 8 : 0 0 p m
Tickets available at Ticketmaster [280-3311]
or call the Chan Centre Box Office at 822-2697
UBCMUSIC
Upcoming
Events
Masterciasses with Siegfried Jerusalem
M a r c h 12-14
O l d Auditorium
M a r c h 15
Recital H a l l
Student Concert
Admission: $5.00 for each class and student concert
Masterclass Pass: Admission to all Masterciasses and the Student Concert: $20.00
U B C music students: Free admission
A Concert o f Operatic Excerpts
M a r c h 23 & 24
8:00pm
C h a n Centre for the Performing Arts
U B C Ensemble, U B C C h o r a l U n i o n , U B C Symphonic W i n d Ensemble
Admission by donation
U B C Symphony Orchestra
A p r i l 5, 12:30pm
April 6, 8:00pm
C h a n Centre for the Performing Arts
Free admission
Masterciasses with D a w n Upshaw
A p r i l 12, 12:00pm-2:00pm
C h a n Centre for the Performing Arts
Admission: S10/S1 5 at the door
Opera B o n Bons
A p r i l 20 & 21, 8:00pm
April 22, 3:00pm
O l d Auditorium
Excerpts from Othello, Hamlet, Romeo and Juliette, Sir John in Love, and Faust
Guest directors: Irving G u t t m a n and M a r i H a h n
Admission by donation
For m o r e c o n c e r t i n f o r m a t i o n visit T h e S c h o o l of M u s i c w e b s i t e at:
www.music.ubc.ca
or phone 822-5574