The very spareness of Sabine Dargent’s set for The Crucible strikes the eye with the force of a Rembrandt painting. Dark wood-panelled walls enclose on three sides a simple bed stage left and a chair and table stage right, set on a floor of stained boards. Overhead hangs a truss of heavy wooden beams in the same ruddy hue. This strong visual impact resonates throughout the production in the adroit use of chiaroscuro in Ben Ormerod’s lighting: in moments where action is frozen momentarily as a form of gestus; and in the beautiful transitions within the mise-en-scene. Panels open to reveal doors and windows and swivel as actors in character shift the set from one scene to another. The scenography becomes the action in every sense.

Crucible / Tom Maguire, Irish Theatre Magazine.

The political context may have shifted, but Conall Morrison unflinchingly focuses our attention on to the tendrils of religious fundamentalism and sectarian hatred currently suffocating our own world. His vision is hugely enhanced by Sabine Dargent’s handsome wood-panelled set, which revolves with each act to reveal constantly changing faces.

Crucible / Jane Coyle, The Stage, 6 May 2011.

Dargent’s spare, timber-framed set extends seamlessly into the stained wooden interior of the new auditorium, bringing an added immediacy to a staging that proves determined not to be reverential towards a classic text.

Crucible / The Guardian, 10 May 2011.