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A review by nftibbetts
John Proctor Is the Villain by Kimberly Belflower
adventurous
challenging
dark
emotional
funny
hopeful
informative
inspiring
mysterious
reflective
sad
tense
fast-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
5.0
What a ride! Spurred on by this play's current Broadway run, I am so glad I found a copy to read. John Proctor is the Villain is in effect a #metoo period piece, yet speaks to 1690s Salem, 1950s United States, and the present day (spring 2025 as I am writing this). I and many of my friends were similar ages to the students in Villain, and I could identify aspects of myself and my friends in one or more of those characters. Moreover, the commentary on The Crucible and the original witch trials was a welcome addition, while also being crucial to forward the play's tight, fast, and engrossing narrative.
I was drawn to Belflower's use of stage directions which, while sparse, added so much to the given scene they were in. And it is totally okay that they were sparse because the whip-smart dialogue and most-of-the-time endearing characters kept me glued to the script.
The ending of John Proctor is the Villain is such a splendid and ecstatic catharsis from the all too real reality encapsulated in the pages that precede it. Having been a witness to similar situations in real life, I appreciated how the dynamics of power weave throughout the play until they ultimately are reversed. It was a happy ending, of sorts—not that all was well in the end, or that wrongs were righted, but that those wrongs were acknowledged, condemned, then replaced by the unequivocal joy of community, girlhood slash womanhood, and the freeing feeling of telling predators to bump off (insert your own expletive).
I would recommend Belflower's Villain to anyone, especially if they've ever listed to Lorde, Taylor Swift, or Harry Styles on chronic repeat.
I was drawn to Belflower's use of stage directions which, while sparse, added so much to the given scene they were in. And it is totally okay that they were sparse because the whip-smart dialogue and most-of-the-time endearing characters kept me glued to the script.
The ending of John Proctor is the Villain is such a splendid and ecstatic catharsis from the all too real reality encapsulated in the pages that precede it. Having been a witness to similar situations in real life, I appreciated how the dynamics of power weave throughout the play until they ultimately are reversed. It was a happy ending, of sorts—not that all was well in the end, or that wrongs were righted, but that those wrongs were acknowledged, condemned, then replaced by the unequivocal joy of community, girlhood slash womanhood, and the freeing feeling of telling predators to bump off (insert your own expletive).
I would recommend Belflower's Villain to anyone, especially if they've ever listed to Lorde, Taylor Swift, or Harry Styles on chronic repeat.