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Role of Mary Warren in Robert Ward's The Crucible DeBruyn, Maaike Maria 2001

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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 F O R T H E O P E R A D E P A R T M E N T M U S I C D I R E C T O R RICHARD E P P REPETITEURS D A N I E L C H O W D O N N A FALCONER B R E T T KINGSBURY 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 J O A N W E L L W O O D POSTER D E S I G N JAMES A . G L E N Box O F F I C E G E R R Y BRATZ O F F I C E SUPPORT G . V A N D E R W O U D E 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 de-sire 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 anx-ious 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 quar-rel 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 , over-w 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 , hys-terically 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 van-ished 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 Eliza-beth for examination. John is about to burst out wildly to prevent their taking Elizabeth away, but in-stead 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 incapa-ble o f a lie, is brought i n and fails to conf i rm John's confession; A b i g a i l counterat-tacks, charging that M a r y herself has turned wi t ch . M a r y , helpless and then hysteri-cal, 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 execu-tions 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 vari-ous 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 testimo-nies to be the truth be fore the Juriors of Inques this 30 of June 1692. £><• fietiJ****- tf fa^n : /wV a.4»t a^W . 3 a . ***** tit S*H<*<*eJL hy.vUtt^ /i^p- yw*) °& of - _ — -* — — i<fKf^tc. %/ f~.U. x*~- pnU i^Jia^f yfrrn JhJ^.tt-l ff-yfAfuil V-J&JIW y slit*, JJ* X.. ft„^u£ rj~ jny.*, jt,.<,t/l <,Vuy $> ytwr^fi tahited ai lit trAwruiAr*, tfk*. fii-i <f*~ -t, ft rritufjtvJ-n) $otp tu -jaJ- w J i W v p Jyr*~ It iv*t «' •*»' (ft. Prr'.f'-', /«t vtt*. fit fif^f'J' e«tn* tiuur ttjixS-"/. r V - U . J •li.-CJ. . •c,,.^ I U W f M -> '•(- xmt j •' 'MlLt •>.->• cJ it.> 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 

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