ROLE OF MARY WARREN IN ROBERT WARD'S THE CRUCIBLE

by

MAAIKE MARIA DEBRUYN

B.Mus., University of B r i t i s h Columbia, 1 9 9 8

A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF

THE REQUIREMENTS FOR THE DEGREE OF

MASTER OF MUSIC

in

THE FACULTY OF GRADUATE STUDIES

(School of Music)

We accept this thesis as conforming

to the required standard

THE UNIVERSITY OF BRITISH COLUMBIA

Ap r i l 2 0 0 1

© Maaike Maria deBruyn 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 S d n a o V p f c fflosic

The University of British Columbia Vancouver, Canada

DE-6 (2/88)

- - 3

l

-MUSIC fad" at UBC

The Crucible

by Robert Ward

March 1,2,3,4

2001

Chan Shun Concert Hall Chan Centre for the Perfornmg Arts

U B C M U S I C

The Crucible A n o p e r a in f o u r ac ts ba sed o n t h e p l a y by A r t h u r M i l l e r

Music by Robert Ward Libretto by Bernard Stambler

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

with

The U B C Opera Ensemble &

The U B C Symphony Orchestra

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 to a memorable night of opera! I hope you wil l savor

this evening, the ideal k ind o f theatre experience, an opera based

on a great piece of dramatic art-Arthur Mil ler 's striking play, a

score from a legendary composer who has graced us with his pres­

ence, a sharply-defined visual and theatrical setting which com­

pliments and supports the story, all performed by the singers and

musicians from what is emerging as the most exciting opera train­

ing program in Canada! We are proud of this production, excited that U B C , the

School of Music and the Department of Theatre, F i lm and Creative Wri t ing 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 mov­

ing and dramatic production. Thank you for joining us.

Warm wishes,

Jesse Read - Conductor, Director U B C School of Music

A Message from the Head of Theatre, Film and Creative Writing

The Performing Arts are too often assumed to be just enter­

tainment. Theatre in all its forms, has been a crucial part of

our societal development, with an importance far beyond

the merely diversionary. The Crucible is a case in point. In

1950, the play was Arthur Miller's response to a social injus­

tice, and it gave us a picture of how we behave in the throes

of political hysteria. Robert Ward's operatic work makes this picture even

more poignant and more accessible to an even broader audience. The De­

partment of Theatre, Fi lm and Creative Writing is proud to join with the

Opera Program to present this classic, relevant and important story.

Ron Fedoruk - Head of Theatre, Film and Creative Writing, U B C

5

About the Composer

Robert Ward was born in 1917 in Cleveland, Ohio . H e 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. H e was the Ditector of the

T h i r d Street Music School Settlement from 1952 to 1955. H e was Executive Vice-Presi­

dent and Managing Editor of Galaxy Music Corporarion and Highgate Press until 1967

when he became President of the Nor th Carolina School of the Arts. Unt i l his retire­

ment in 1987, he was the M a r y Duke Biddle Professor of Music at Duke University.

M r . Ward's latge and distinguished musical creation has, in large measure, been com­

missioned by the New York C i t y Opera, Broadcast Music . Inc., the New York Philhar­

monic, the Friends of Dumbarton Oaks, the Juilliard Musical Foundation, and many

others. H i s 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 Citat ion 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 are 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, lisren 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

M i l l e t and Ward provide us with the oppottuniry to find, as does John Proctor, "that

shied of goodness" in ourselves.

When asked what the opera has to say to modern audiences, Robert Ward re­

plied: "We think events like the Salem witch trials or the McCar thy 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 produc­

tion.

Nancy Hetmiston Director U B C Opera Ensemble

U B C O P E R A E N S E M B L E

(The Opera Ensemble and I would like to thank you for your continued sup­

port and interest. The 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 sched­

ule was our performances of 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 of The Crucible. O n

Sept. 21, 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 wi l l con­

duct the Faust performances while Usti's General Music Director; Norbert Baxa

wil l lead the Vixen and Gdrtnerin. The Ensemble wil l complete its tour at the

international Festival for Young Opera Singers in the University rown of Erlangen,

Germany with a performance of Gdrtnerin aus Liebe on July 1, Canada Day.

Along with their colleagues from Usti the Ensemble wil l 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 of Hansel and Gretel, 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 in a production of Monteverdi's / /

Ritorno d'Ulisse di Patria.

After The Crucible we wi l l 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, 21, & 22 in the O l d Audi tor ium, featuring excerpts from Faust,

Otello, Romeo and Jidiette, Hamlet and Sir John In Love, with guest directors,

Irving Guttman and M a r i Hahn . - Nancy Hermiston

T H E O P E R A E N S E M B L E E X E C U T I V E

R H O N W E N A D A M S

MELISSA B E N C I C

N E E M A BICKERSTETH

R H O S L Y N JONES

J A N E T V A N D E R T O L

ALEXIS B A R T H E L E M Y

KATY B O W E N - R O B E R T S

J E A N I N E F Y N N

RILEY M C M I T C H E L L

JUSTIN W E L S H

The Crucible by Robert Ward

Cast March 1 & 3 March 2 & 4

Betty Parris Katy Bowen-Roberts Dory Hayley

Reverend Parris Russell Robson Phillip Grant

Tituba Beverly McArthur Kacherine Landry

Abigail Williams Melanie Krueger Mari Hahn

Ann Putnam Shauna Martin Cindy Koistinen

Thomas Putnam Elio Cacana Krzysztof Biernacki

Rebecca Nurse Jeanine Fynn Suzanne Abbott

Francis Nurse Joel Klein Pierre Hungr

Giles Corey Craig Johnson Neil Wright

John Proctor *Git Anderson ^Andrew Greenwood

Reverend Hale David Jefferies Shae Apland

Elizabeth Proctor Alexis Barthelemy Sandra Stringer

Mary Warren Maaike deBruyn [March Sheila Christie [March 3r

1st] Neema Bickersteth J]

Ezekiel Cheever Ian Paul Alex Good

Judge Danforth Neil Wright Philippe Castagner

Sarah Good Elaine Lee Elizabeth Cushnie

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

*by permission of Canadian Actor's Equity Association

Chorus Stephen Bell Jerome Dubois

Jeannetce Gibault Andrew Jameson

Amy LaFroy Michael Mori

Steven Rathjen Mark Sampson

Janet Vandertol

ORCHESTRA

VIOLIN 1 +Alycia A u

Ruth Huang Ever Bo-Kyoung K i m

Adrian Dyck Amanda Hsueh

James Wei Angela Hodgson

A m y Pei Amelia Mor i

Jenny Atkinson Ruth Houtman

BASS *Leanna Wong Peggy Tong Jennifer C h u Jessy Giammarino

FLUTES *Tara Whittaker Greg KJrczenow (piccolo)

OBOE & ENGLISH HORN Marisa Chang

VIOLIN 2 *Gillian Mot t

Brooke Day James H i l l Denise N g

Jessica Wan Trevor Pearce

Vincent Wong Phyllis H o

Heather Liau Jack Tsai

CLARINETS *Eileen Walsh Jennifer M c E n h i l l Amanda Beatty (bass clarinet)

BASSOONS Meghan Dahl

HORNS *Megan Smith David Quackenbush

VIOLA *Beth Schaufele

Aaron Butler Szabolcs Kabok

Suzanne Schweikle-Davey Gil l ian Hunter

TRUMPETS *Meghan Turner Chris Mitchell

BASS TROMBONES Peter Waldkirch .

CELLO *Colin Giles

Diederik van Dijk Anne Davison

Seung Young Song Lucas Wong

Sarah Tippett Alexandra Sia Hsin-Pei L iu

TIMPANI & PERCUSSION Bruce Henczel

LIBRARIAN Peggy Wong

MANAGER Col in Giles

+ CONCERT MASTER

* SECTION LEADER

9

P R O D U C T I O N

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M U S I C D I R E C T O R

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REPETITEURS

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D O N N A FALCONER

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T E C H N I C A L D IRECTOR

C A M E R O N M C G I L L

T E C H N I C A L COORDINATOR

JASON BOSHER

W I G S

E L K E E N G L I C H T

H E A D OF PROPERTIES

V A L E R I E M O F F A T

PROP BUILDER

M A K E - U P

N E L V O L R I C H

L I G H T I N G ASSISTANT

M I K E INWOOD

LIGHTING BOARD OP E R A T O R

JEREMY B A X T E R

PAINTERS

G ENNIE W I LLO U G H B Y- P RICE

CO S T U M E S

O P E R A H O U S E , USTI NAD LABEM,

C Z E C H REPUBLIC

C O S T U M E COORDINATOR

LYDIA HIEBERT

Media Sponsors CBC«J|}» r a d i c ^ z i

'CLASSICS. AND BIYOND]

P R O D U C T I O N

STAGE M A N A G E R

P E G G Y J A M E S O N *

ASSISTANT STAGE M A N A G E R S

A P R I L LAWRENCE

M A Y A SANDERS

STAGE C R E W

LAURA PA R S O N

STACY LANDERS

FOR T H E T H E A T R E D E P A R T M E N T

T E C H N I C A L D IRECTOR

IAN P R A T T

PRODUCTION M A N A G E R

ROBERT EB E R L E

PROPS SUPERVISORS

J A N E T BICKFORD

L Y N N B U R T O N

C O S T U M E SUPERVISORS

JEAN D R J S C O L L - B E L L

STAGE CARPENTERS

J I M FERGUSSON

D O N GRIFFITHS

JAY H E N R I C K S O N

BUSINESS M A N A G E R

MARIETTA K O Z A K

COMMUNICATIONS

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JAMES A . G L E N

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PROGRAM LAYOUT

M A R Y K E F L A M E L I N G

A C K N O W L E D G E M E N T S

The C h a n Family, Michael N o o n

The Vancouver Opera, The Vancouver Playhouse, The Arts C l u b Theatre, Valerie Moffat,

School of Mus ic 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 M o v i n g Guys, and

J i m Wright General Director of The Vancouver Opera

A Special Thank You to the Vancouver Opera G u i l d for their donation to this production.

The Crucible - Synopsis

A c t I T h e cur ta in rises o n the Reverend Samuel Parris knee l ing distraught at the bed o f

his daughter Betty. She lies i m m o b i l e and scarcely breathing, as she has l a in since Parris came u p o n her and her cous in A b i g a i l d a n c i n g i n the woods the night before. T i t u b a comes to ask about Bet ty but is angr i ly sent away.

A b i g a i l enters to say that the t o w n is wh i spe r ing o f witchcraf t and that Parris shou ld go out to make denia l . H e bi t ter ly turns o n her to quest ion her about the danc ing a n d about her myster ious dismissal f rom the service o f the Proctors . A s she vehement ly denies any w r o n g d o i n g , a t t r ibu t ing her dismissal to G o o d w i f e Proctor's arrogant de­sire for a slave, the Pu tnams enter to tell that their R u t h was s t r icken at the same t ime as Bet ty Parris a n d that they have sent to Beverly for the Reverend H a l e , k n o w n for his sk i l l in d iscover ing witches.

W h i l e Parris, fearful o f any susp ic ion o f witchcraft i n his o w n household , is anx­ious ly d o u b t i n g the need for H a l e , Rebecca and Francis N u r s e enter w i t h Gi l e s Corey .

Rebecca is c o m f o r t i n g , o l d Gi l e s is f l ippant about the illness o f the girls. W h e n P u t n a m insists that witches are at w o r k i n Salem, Gi l e s accuses h i m o f us ing a w i t c h scare to defraud his neighbors o f their l and . J o h n Proctor's entrance o n l y brings this quar­rel to a h igher peak. ( A b i g a i l , t hough silent i n the upper r o o m , vis ib ly reacts w i t h excitement to John's entrance.) Rebecca reprimands the m e n for this u n ­t ime ly squabble i n a house o f illness, and calls them

back to their senses. Gi l e s departs w i t h J o h n . T h e y s ing a psa lm to beseech G o d ' s help. A s the psa lm proceeds, Bet ty begins to

w t i t he o n the bed and then w i t h an unear th ly shriek tries to fly out o f the w i n d o w . T h e y rush to her side. I n the mids t o f the c o m m o t i o n the Reverend H a l e enters. H e calms t hem w i t h his air o f au thor i ty a n d then me thod ica l ly sets an i n q u i r y under way. H e soon learns that T i t u b a has played an i m p o r t a n t role i n what has been happen ing , hav ing also been present at the danc ing . A n n P u t n a m asserts that T i t u b a knows c o n ­ju r i ng . T i t u b a is sent for; at her entrance, A b i g a i l , w h o has been under severe i n q u i s i ­t i o n by H a l e , lashes out to accuse T i t u b a o f 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 and the malevolent in tensi ty o f Parris and the Putnams , finally confesses that she has been vis i ted by the D e v i l , but denies that he has persuaded her in to any wrongdo ing - fo r a few momen t s she frightens Parris and the Pu tnams w i t h a heartfelt fantasy o f the hel l ish power to b r i n g them h a r m that the D e v i l had offered her.

W i t h Tituba's confession the spell over Bet ty is b roken . A l l re turn to the psa lm i n great thanksg iv ing , w h i l e A b b y envies the a t tent ion n o w be ing given to T i t u b a , hys­terically repents her o w n compac t w i t h the D e v i l , and v i s ib ly receives an answer to her prayer for forgiveness a n d for a cal l to mark out others o f the Dev i l ' s crew.

11

Act II John Proctor returns from a day'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

v 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 of Abby's crew of 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 completely-anything rather than that Elizabeth should be in danger for his sake.

Act III Scene 1.

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 the 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 invocat ion i n court reveals the strength and fervor o f his con­

v ic t ion that God's w i l l is w o r k i n g through h i m to cleanse the land o f a plague o f witches.

A s court opens, Gi les C o r e y accuses T h o m a s Pu tnam, i n his greed for his neighbors' l and , o f having bragged o f his role i n the charges o f witchcraft. Judge Danfo r th sends C o r e y to ja i l and tortute for refusing to name his witnesses for this accusation. There is a great h u b b u b as Gi les leaps at Pu tnam as the man responsible for the arrest o f his wife and himself, and o f Rebecca Nurse as we l l .

John Proctor presents M a r y Warren's deposi t ion that the entire crying-out against witches started on ly as an exci t ing game for the girls-and is a complete pretense and fraud. But Abby, he says, has con t inued the game i n an effort to dispose o f E l i za ­beth. H e r encouragement to this arose from the adultery that took place between A b b y and himself, w h i c h he is n o w confessing. W h e n El izabeth, ordinar i ly incapa­ble o f a lie, is brought i n and fails to conf i rm John's confession; A b i g a i l counterat­tacks, charging that M a r y herself has turned wi t ch . M a r y , helpless and then hysteri­cal, turns o n John Proctor-accusing h i m o f being the Devil 's man w h o has forced her into t ry ing to confuse and overthrow the court. A l l but the Reverend H a l e close i n o n John Proctor w i t h sadistic vindictiveness.

A c t I V T i t u b a and Sarah G o o d , crazed by the tigors o f impt i sonment , sing o f the D e v i l

and his broken promises to them. A b b y comes into the prison courtyard; she has br ibed the jailer to permit Proctor to escape. John , a l though broken by the months o f pr ison and torture, scornfully rejects the freedom and love she offers h i m . A b b y runs off weeping.

H a l e , and then Parris, try to petsuade Judge Danfo r th to postpone the execu­tions o f Proctor and Rebecca Nurse scheduled for that morn ing : Salem may break into open rebell ion at the execution o f such respected citizens. Danfo r th i n d i g ­nant ly refuses, but agrees to ask El izabeth to persuade her husband to confess.

J o h n is brought i n and left alone w i t h El izabeth. She tells h i m that Gi les C o r e y has died, pressed to death rather than say aye or nay to the charge o f witchcraft, but that many have confessed i n order to save their lives. John reluctantly brings out his o w n wi sh to confess-if it w i l l not make her th ink i l l o f h i m for ly ing . Passionately she answers that it was her lie that doomed h i m - a n d that she wants h i m alive. Exul tant , he shouts that he w i l l confess to the charge o f witchctaft.

Danfor th , Ha le , and Parris rejoice-for their vari­ous reasons-over John's confession, and Parris tries to persuade Rebecca, w h o has been brought i n o n the way to the gallows, also to confess. She refuses to d a m n herself w i t h the lie. John is asked to sign his confession, that it may be exhibi ted before the town. But this is too m u c h : he has deeply shamed

h imsel f by confessing, but he w i l l not set his hand to the destruction o f his o w n name-and the etetnal shame o f his sons. H e tears up the document . In fury Danfor th otders John and Rebecca to be led out to execution. H a l e pleads w i t h El izabeth that she change John's decision whi le there is yet t ime. She refuses: " H e has found his name and his goodness n o w - G o d forbid I take it f rom h i m . "

Images and Texts about the Salem Witch Trials

A Modeft Enquiry Iaro rhc Nature of

Witchcraft. A N D

Ho* Pcribns Guilty of that Crimt miy be Convicted -. And the mean* ulcd for their Diit-«very Diicufl&i, both Negatively and Affirmatively.

• according to SC R IP 1 V RE and E X ¥ ERIE We £.

By 3to5it $ale, Pallor ot the Church of Chiiil in JkvnUj,

Anna IXfntmt 16.; j , ~ 1

' n . •• • . . /'(J; ri/Ri ttial h*at Ftmiliar Sftriti nd t^i^mrdi.tkM ?tcp,Sl*

7 ti 1 . tW J'..i ta th* IVffin • • . ̂ :-..< ir-r 4. - r 1. ' • />: • «• - J, 1/ j* bteamU thtri u >••> Ujrbt iii 1 Jrm, lia'tah Vlll. 19, 10.

T' J• *. 1.. /,/« n*i t 1.'..-, Job 14 ;Z. OSTON m N. t a. Gr/rti, and 7- for

i«r under the T o w n Houfe. 1

Above: "The Trial of George Jacobs, August 5, 1692" byT .H . Matteson, 1885

Left: the inside cover of a book written by Rev. Hale on the examination of witches.

W A R R A N T F O R T H E A R R E S T O F E L Z A B E T H P R O C T O R

A N D S A R A H C L O Y C E ( A P R I L 4, 1692):

There Being Complaint this day made (Before us) by capt Jonat Walcott, and Lt Natheniell Ingersull both of Salem Village, in Behalfe ofthrift Majesties for themselfes and also for severall 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 ofWitchcraft 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 daughterof the abovesaid Complainants, And Ann Putnam and Marcy Lewis of the famyly of Thomas Putnam of Salem Village whereby great hurt and dammage hath beene donne to the Bodys of s d persons above named therefore Craved Justice.

You are therefore in theire Majest's names hereby required to apprehend and bring before us Sarah Cloyce the wife of peter Cloyce ofSalem 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 Towne, in order to theire Examination Relateing to thepremesis aboves d and here of you are. not to fade Dated Salem Aprill 8 th 1692 To George Herick Marshall of the County of essex

John Hathorne Jonathan Corwin Assists

The Deposition of Sam Parris, Nathaniel Ingersoll, and Thomas Putnam

[pictured below]

The Deposition of Sam: Parris aged about.39.years, & Nathanael Ingersol aged about fifty & eight years, & Thomas Putnam aged about fourty years all of Salem -

testifyeth & saith that John Indian, A n n Putman & Abigail Wil l iams & others of the bewitched persons were severall times & greivously tortured at the Examination of Elizabeth Proctor wife to John Proctor of Salem Farmes before the Honoured Magistrates the. IF th A p r i l . 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 Abigai l Wil l iams & A n n Putman then testifyed that they saw this Eliz: Proctor & her husband John Proctor severall times afflicting of Bathshua Pope the wife of Joseph Pope of Salem Yeoman, at which times the said Bathshua Pope was seized with violent fits: & farther that the said Abigail Wil l iams & A n n Putnam, both of them made offer to strike at said Eliz. Proctor, but when said Abigails hand came near to said Eliz: Proctor it opend (whereas it was made up into a fist before) & came down exceeding lightly as it drew near to said Proctor, & at length with open & extended fingers touche said Proctors hood very lightly, & immediately said Abigail cryed out, O h ! my fingers, my fingers, my fingers burne, & A n n 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 thom. 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 Salem Witch Trials, visit the website http://etext.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, 8:00pm

Tickets available at Ticketmaster [280-3311] or call the Chan Centre Box Office at 822-2697

Upcoming Events UBCMUSIC

Masterclasses with Siegfried Jerusalem March 12-14 O l d Audi tor ium March 15 Recital Hal l Student Concert Admission: $5.00 for each class and student concerr Masterclass Pass: Admission to all Masterclasses and the Student Concert: S20.00 U B C music students: Free admission

A Concert of Operatic Excerpts March 23 & 24 8:00pm Chan Centre for the Performing Arts U B C Ensemble, U B C Choral Union, U B C Symphonic W i n d Ensemble Admission by donation

U B C Symphony Otchestra Apr i l 5, 12:30pm Apr i l 6, 8:00pm Chan Centre for the Performing Arts Free admission

Masterclasses with Dawn Upshaw Apri l 12, 12:00pm-2:00pm Chan Centre for the Performing Arts Admission: $ 10/$ 15 at the door

Opera Bon Bons Apr i l 20 & 21, 8:00pm Apr i l 22, 3:00pm O l d Auditorium Excetpts from Othello, Hamlet, Romeo and Juliette, Sir John in Love, and Faust Guest directors: Irving Guttman and Mar i Ha lm Admission by donation

For more concert information visit The School of Music website at:

w w w . m u s i c . u b c . c a o r p h o n e 8 2 2 - 5 5 7 4

THE CHAN CENTRE DIRECTOR

MICHAEL NOON

DIRECTOR OF FACILITIES AND OPERATIONS CAMERON M C G I L L

PROGRAMMING MANAGER JOYCE HINTON

EVENTS COORDINATOR W E N D Y ATKINSON

CUSTOMER SERVICES MANAGER MARIE EDWARDS

STAGE COORDINATOR OWEN SCHELLENBERGER

AUDIO VISUAL COORDINATOR STEVE DARKE

SYSTEMS COORDINATOR TED CLARK

FRONT OF HOUSE COORDINATORS YOLANDA Bun & JENNY PETERSON

CONCESSIONS COORDINATOR BASIL W A U G H

TICKET OFFICE COORDINATOR DONNA CAEDO

FINANCIAL OFFICER FLORA LEW

FINANCIAL CLERK LAURA LEE SAMUELS

GREEK by Steven Berkoff

MAR 8-17, 2001 7:30pm

TELUS Studio Theatre

Adults $16 Students/Seniors $10

MAR 22 - 31,2001 7:30pm Frederic Wood Theatre

Adults $16 Students/Seniors $10

BECKETT BIRTHDAY BASH IV April 13 2001 TELUS Studio Theatre 7:30pm NOT I FOOTFALLS BREATH & READINGS OF PROSE 1 Show Tickets & Info 822-2678