NEW YORK (AP) — Kimberly Belflower, playwright of the critically acclaimed play "John Proctor Is the Villain," understood the importance of a powerful final scene, which she felt necessitated the use of Lorde's song "Green Light." In a light-hearted moment, Belflower recounted how she insisted to her agent that she would prefer for the play not to be produced if it could not include the song. After crafting a heartfelt letter to Lorde explaining its significance, she received the green light to use the track.
The play, featuring Sadie Sink, centers around high school students grappling with Arthur Miller's "The Crucible" as the #MeToo movement permeates their small Georgian town. The production has struck a chord with audiences, earning seven Tony nominations, the highest for any play this season. This aligns "John Proctor Is the Villain" with a growing trend of Broadway shows that amplify the voices of young people and attract demographic audiences reflective of that group.
Similarly, Sam Gold's modern take on "Romeo + Juliet" has achieved commercial success, being nominated for Best Revival of a Play. This production, which featured Kit Connor and Rachel Zegler with music from Jack Antonoff, drew the youngest ticket-buying demographic in Broadway history, with 14% of attendees aged 18-24 compared to the industry average of just 3%.
The two productions share thematic undercurrents: the integration of pop music, the involvement of Hollywood stars, and stories that delve into the complexities of young adulthood. Gold emphasized that young audiences connected deeply with their show because it embodied the reflective nature that theater should have in society.
The themes explored in "John Proctor Is the Villain" are straightforward and thought-provoking, with frank discussions about the implications of the #MeToo movement, intersectional feminism, and sexual autonomy. These teenage girl characters navigate their friendships and beliefs while dealing with comedic yet relevant pop culture references to figures like Taylor Swift, Beyoncé, “Twilight,” and, notably, Lorde.
Fina Strazza, who plays Beth—a bright and well-meaning leader—reports that audience members have often approached her with letters detailing how Beth's journey helped them find self-forgiveness in their own experiences. The play's script employs a unique prose structure characterized by frequent line breaks and minimal capitalization, reflecting the intense, raw nature of adolescence, which both Belflower and director Danya Taymor sought to capture.
Gold’s prior work on "An Enemy of the People" sparked discussions surrounding pressing contemporary issues like climate change and politics among young actors and theatergoers, leading him to see parallels with Shakespeare's original text of "Romeo and Juliet," which grapples with themes of inheriting a troubled future created by previous generations.
Runyonland Productions, founded by Thomas Laub and Alyah Chanelle Scott, emerged from frustrations with how the theater industry sidelined young, diverse voices. This spring, Scott acted off-Broadway in Natalie Margolin's “All Nighter.” While portraying characters that resonate with current college students on stage, Scott has channeled her motivation into uplifting narratives that reflect genuine teenage experiences through productions like "John Proctor." The play’s development was notably influenced by student input, part of a collaboration initiative aimed at making it accessible for high school and college productions.
As the show approached previews, ticketing strategies, including a $29 ticket lottery, catered to younger audiences, resulting in sold-out performances. Runyonland's marketing strategy, driven by a youthful team, aimed to resonate with this demographic through social media and influencer outreach. The productions boasted various promotions, including school spirit days and themed events that encouraged fan engagement.
The emotional culmination in "John Proctor"—where heightened emotions collide with "Green Light"—exemplifies the visceral impact of the theatrical experience. Taymor noted that the sheer authenticity of the performances provides a refreshing contrast to conventional marketing approaches in live theater. The campaign, likened more to a film launch than traditional theater promotions, captures the zeitgeist through innovative practices adapted from industries such as Neon and A24.
In conclusion, "John Proctor Is the Villain" and "Romeo + Juliet" encapsulate a vital moment in contemporary theater, drawing young audiences who find resonance and representation in their narratives amidst rapidly changing sociocultural dynamics.
