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Role of Judge Danforth in Robert Ward’s The Crucible Wright, Neil Edward 2001

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OF JUDGE DANFORTH IN ROBERT WARD'S THE CRUCIBLE by NEIL EDWARD WRIGHT B.Mus., U n i v e r s i t y of Ottawa, 1995 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC i n THE FACULTY OF GRADUATE STUDIES (School of Music) We accept t h i s t h e s i s as conforming to the r e q u i r e d s t a n d a r d THE UNIVERSITY OF BRITISH COLUMBIA A p r i l 2001 © N e i l Edward Wright, 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 C* \ 0 £ i C-The University of British Columbia Vancouver, Canada DE-6 (2/88) UB M U S I C The Crucible An opera in four acts based on the play by Arthur Miller M u s i c by R o b e r t W a r d L i b r e t t o by B e r n a r d S t a m b l e r T h e U B C O p t r a E n s e m b l e & T h e U B C S y m p h o n y O r c h e s t r a Conductor - Jesse Read Stage Director. - Nancy Hermiston Musical Director - Richard Epp Set & Costume Design by Alessia Carpoca Light Design by Jeremy Baxter I h e r e w i l l h e o n e I w c i i l y - i n i n u l c i n l c r m i s s i o n with Chan Shun Concert Hall March 1, 2, 3, 4, 2001 THIS PRESENTATION IS MADE POSSIBEE BY GENEROUS ASSISTANCE THROUGH THE CHAN ENDOWMENT FUND OF THE UNIVERSITY OF BRITISH COEUMBIA J E ( M U S I C The Crucible An opera in four acts based on the play by Arthur Miller M u s i c b y R o b e r t W a r d L i b r e t t o b y B e r n a r d S t a m b l e r 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 The U B C Opera Ensemble & with 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 HI a memorable night ol opera! I hope you will savor this evening, the ideal kind ol theatre experience, an opera based on a great piece of dramatic art-Arthur Miller 's striking play, a score from a legendary composer who has graced tis 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, Fi 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 T h e P e r f o r m i n g A r t s are too often assumed to be just enter-ta inment . Theatre in all its forms, has been a crucia l part o f o u r societal d e v e l o p m e n t , w i t h an i m p o r t a n c e far b e y o n d the merely diversionary. The Crucible is a case i n p o i n t . In 1950, tbe play was A r t h u r Mi l l e r ' s response to a social injus-tice, and it gave us a picture of b o w we behave i n tbe throes o l po l i t i ca l hysteria. Robert Ward's operatic w o r k makes this picture even more poignant and more accessible to an even broader audience. The D e -partment o f Theatre , F i l m and Creat ive W r i t i n g is prottd to j o i n w i t h the O p e r a Program to present this classic, relevant a n d i m p o r t a n t story. Ron Fedoruk - Head o f Theatre, F i lm and Creative Wri t ing , U B C 5 About the-Composer Robert Ward was horn in 1917 in Cleveland, Ohio. I tc 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. He was the Director of the Third Street Music School Settlement from 1952 to 1955. He was Executive Vice-Presi-dent and Managing Editor of Galaxy Music Corporation and Highgate Press until 1967 when he became President of the North Carolina School of the Arts. Until his retire-ment in 1987, he was the Mary Duke Biddle Professor of Music at Duke University. Mr. Ward's large and distinguished musical creation has, in large measure, been com-missioned by the New York City Opera, Broadcast Music. Inc., the New York Philhar-monic, the Friends of Dumbarton Oaks, the Juilliard Musical Foundation, and many others. His 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 Citation 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 arc 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, listen 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 Miller and Ward provide us with the opportunity to find, as does John Proctor, "that shred 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 McCarthy 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 Hermiston 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 wil l 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 wil l con-duct the Faust performances while Usti's General Music Director; Norbcrt 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 town of Erlangen, Germany with a performance of Gdrtnerin aus Liebe on July 1, Canada Day. Along with their colleagues from Usti the Ensemble wi l 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 Grctel, 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 // Rilorno d'Ulisse di Patria. After The Crucible we wil 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, Olello, Romeo and Juliette, Hamlet and Sir John In Love, with guest directors, Irving Guttman and M a r i H a h n . - Nancy Hermiston T H E OPERA ENSEMBLE EXECUTIVE RHONWEN ADAMS MELISSA BENCIC NEEMA BICKERSTETH RHOSLYN JONES JANET VANDERTOL ALEXIS BARTHELEMY KATY BOWEN-ROBERTS JEANINE FYNN RILEY M C M I T C H E L L JUSTIN WELSH The Crucible by Robert Ward Cast March 1 & 3 March 2 & 4 Betty Parris Katy Bowen-Robercs Dory Hayley Reverend Parris Russell Robson Phillip Grant Tituba Beverly McArthur Katherine Landry Abigail Williams Melanie Krueger Mari Hahn Ann Putnam Shauna Martin Cindy Koistinen Thomas Putnam Elio Catana Krzysztof Biernacki Rebecca Nurse Jeanine Fynn Suzanne Abbott Francis Nurse Joel Klein Pierre Hungr Giles Corey Craig Johnson Neil Wright John Proctor *Gil Anderson "Andrew Greenwood Reverend Hale David~Jefferies Shae Apland Elizabeth Proctor Alexis Barthelemy Sandra Stringer Mary Warren Maaike deBruyn(March 1st] Sheila Christie [March 3rd] Neema Bickersteth Ezekiel Cheever Ian Paul Alex Good Judge Danforth Neil Wright Philippe Castagner Sarah Good Elaine Lee _ Elizabeth Cushnic 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 Jeannette Gibault Andrew Jameson Amy LaFroy Michael Mori Steven Rathjen Mark Sampson Janet Vandertol ORCHESTRA VIOLIN 1 +Alycia Au Ruth Huang Evet Bo-Kyoung Kim Adrian Dyck Amanda Hsueh James Wei Angela Hodgson Amy Pei Amelia Mori Jenny Atkinson Ruth Houtman VIOLIN 2 'Gillian Mo tt Brooke Day James Hill Denisc Ng Jessica Wan Trevor Pearce Vincent Wong Phyllis Ho Heather Liau Jack Tsai BASS * Lean na Wong Peggy Tong Jennifer Chu Jessy Giammarino FLUTES *Tara Whittaker Greg Kirczenow (piccolo) OBOE & ENGLISH HORN Marisa Chang CLARINETS * Eileen Walsh Jennifer McEnhill Amanda Beatty (bass clarinet) BASSOONS Meghan Dahl HORNS 'Megan Smith David Quackenbush VIOLA •Beth Schaulcle Aaron Butler Szabolcs Kabok u/annc Schweilde-Davey Gillian Hunter TRUMPETS 'Meghan Turner Chris Mitchell BASS TROMBONES Peter Waldkirch CELLO 'Colin Giles Dicdcrik van Dijk Anne Davison Seung Young Song Lucas Wong Sarah Tippett Alexandra Sia ! Hsin-Pei Liu TIMI'ANI & PERCUSSION Bruce Henczel LIBRARIAN Peggy Wong MANAGER Colin Giles + CONCERT MASTER * SKGTION LEADER 9 PRODUCTION FOR THE OPERA DEPARTMENT MUSIC DIRECTOR RICHARD EPP REPETITEURS DANIEL CHOW DONNA FALCONER BRETT KINGSBURY TECHNICAL DIRECTOR CAMERON MCGILL TECHNICAL COORDINATOR JASON BOSHER WICS ELKE ENGLICHT HEAD OF PROPERTIES VALERIE MOFFAT PROP BUILDER MAKE-UP NEL VOLR1CH LIGHTING ASSISTANT MIKE INWOOD LIGHTING BOARD OPERATOR JEREMY BAXTER PAINTERS GENNIEWILLOUGHBY-PRICE COSTUMES OPERA HOUSE , USTI NAD LABEM, CZECH REPUBLIC COSTUME COORDINATOR LYDIA HIEBERT Media Sponsors CBC«j|f» r a d i o ^ ^ / O S ? 'Cmics. Am Bnoml PRODUCTION STAGE MANAGER PEGGY JAMESON* ASSISTANT STAGE MANAGERS APRIL LAWRENCE MAYA SANDERS STAGE CREW LAURA PARSON STACY LANDERS FOR T H E THEATRE DEPARTMENT TECHNICAL DIRECTOR IAN PRATT PRODUCTION MANAGER ROBERT EBERLE PROPS SUPERVISORS JANET BICKFORD LYNN BURTON COSTUME SUPERVISORS JEAN DRISCOLL-BELI. STAGE CARPENTERS JIM FERGUSSON DON GRIFFITHS JAY HENRICKSON BUSINESS MANAGER MARIETTA KOZAK COMMUNICATIONS JOAN WELLWOOD POSTER DESIGN JAMES A . GI.EN B o x OFFICE GERRY BRATZ OFFICE SUPPORT G . VANDERWOUDE PROGRAM LAYOUT MARYKE FLAMELINC A C K N O W L E D G E M E N T S The Chan Family, Michael Noon The Vancouver Opera, The Vancouver Playhouse, The Arts Club Theatre, Valerie Moffat, School of Music 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 Moving Guys, and Jim Wright General Director of The Vancouver Opera A Special Thank You to the Vancouver Opera Guild 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 dis traught at the bed of his daughter Betty. She lies i m m o b i l e a n d scarcely breathing , as she has l a i n since Parris came u p o n her a n d her cous in A b i g a i l d a n c i n g i n the w o o d s the n ight 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 w h i s p e r i n g o f wi tchcraf t a n d that Parris s h o u l d go out to make den ia l . H e bi t ter ly turns o n her to quest ion her about the d a n c i n g a n d about her myster ious dismissal f r o m 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 i b u t i n g her dismissal to G o o d w i f e Proctor's arrogant de-sire for a slave, the P u t n a m s enter to tell that their R u t h was s tr icken at the same t i m e as Betty Parris a n d that they have sent to Beverly tor the Reverend H a l e , k n o w n for his sk i l l m discover ing witches . W h i l e Parris, f e a r f u l o f any suspic ion o f w i t c h c r a f t in his o w n h o u s e h o l d , is anx-iously d o u b t i n g the need for H a l e , Rebecca and I'Vancis N u r s e enter w i t h G i l e s C o r e y . Rebecca is c o m f o r t i n g , o l d G i 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 Sa lem, G i l e s accuses h i m of us ing a w i t c h scare to defraud his neighbors o f their l a n d . J o h n Proctor's entrance o n l y brings this quar-rel to a higher peak. ( A b i g a i l , t h o u g h silent i n the upper r o o m , vis ib ly reacts w i t h excitement to J o h n s entrance.) Rebecca repr imands the m e n for this u n -t imely squabble in a house o f illness, a n d calls t h e m back to their senses. G i l e s departs w i t h J o h n . T h e y s ing a psalm to beseech G o d ' s help . A s the psa lm proceeds, B e t t y begins to wr i the o n the bed a n d then w i t h an unearthly shriek tries to fly out o f the w i n d o w . T h e y rush to her side. In the m i d s t o f the c o m m o t i o n the Reverend H a l e enters. H e calms them w i t h his air o f author i ty a n d then m e t h o d i c a l l y sets an i n q u i r y u n d e r way. H e ' s o o n learns that T i t u b a has played an i m p o r t a n t role in what has been h a p p e n i n g , h a v i n g also been present at the d a n c i n g . A n n P u t n a m asserts that T i t u b a k n o w s c o n -j u r i n g . T i t u b a is sein 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 ion by H a l e , lashes out to accuse Ti tuba of 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 a n d the malevolent intensi ty o f Parris a n d the Putnams , finally confesses that she has been visi ted by the D e v i l , but denies that he lias persuaded her in to any w r o n g d o i n g - f o r a few m o m e n t s she frightens Parris a n d the P u t n a m s w i t h a heartfelt fantasy o f the hel l ish power to b r i n g t h e m h a r m that the D e v i l had offered her. W i t h Tituba's confession the spell over Betty is b r o k e n . A l l return to the psa lm i n great t h a n k s g i v i n g , w h i l e A b b y envies the at tent ion n o w be ing given to T i t u b a , hys-terically repents her o w n c o m p a c t w i t h the D e v i l , a n d v is ib ly receives an answer to her prayer for forgiveness a n d for a call to m a r k out others o f the Devi l ' s crew. Act II John Proctor returns from a clay'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 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 ol Abby's crew ol 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 complctcly-anything rather than that Elizabeth should be in danger for his sake. Act III Scene I. 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 tbe 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 invocation in court reveals the strength and fervor of his con-viction that God's will is working through him to cleanse the land of a plague of witches. As court opens, Giles Corey accuses Thomas Putnam, in his greed for his neighbors' land, of having bragged of his role in the charges of witchcraft. Judge Danforth sends Corey to jail and torture for refusing to name his witnesses for this accusation. There is a great hubbub as Giles leaps at Putnam as the man responsible tor the arrest of his wife and himself, and of Rebecca Nurse as well. John Proctor presents Mary Warren's deposition that the entire crying-out against witches started only as an exciting game for the girls-and is a complete pretense and fraud. But Abby, he says, has continued the game in an effort to dispose of Eliza-beth. Her encouragement to this arose from the adultery that took place between Abby and himself, which he is now confessing. When Elizabeth, ordinarily incapa-ble of a lie, is brought in and fails to confirm John's confession; Abigail counterat-tacks, charging that Mary herself has turned witch. Mary, helpless and then hysteri-cal, turns on John Proctor-accusing him of being the Devil's man who has forced her into trying to confuse and overthrow the court. All but the Reverend Hale close in on John Proctor with sadistic vindictivencss. Act IV Tituba and Sarah Good, crazed by the rigors of imprisonment, sing of the Devil and his broken promises to them. Abby comes into the prison courtyard; she has bribed the jailer to permit Proctor to escape. John, although broken by the months of prison and torture, scornfully rejects the freedom and love she offers him. Abby runs off weeping. Hale, and then Parris, try to persuade Judge Danforth to postpone the execu-tions of Proctor and Rebecca Nurse scheduled for that morning: Salem may break into open rebellion at the execution of such respected citizens. Danforth indig-nantly refuses, but agrees to ask Elizabeth to persuade her husband to confess. John is brought in and left alone with.Elizabeth. She tells him that Giles Corey has died, pressed to death rather than say aye or nay to the charge of witchcraft, but that many have confessed in order to save their lives. John reluctantly brings out his own wish to confess-if it will not make her think ill of him for lying. Passionately she" answers that it was her lie that doomed him-and that she wants him alive. Exultant, he shouts that he will confess to the charge of witchcraft. Danforth, Hale, and Parris rejoice-for their vari-ous reasons-over John's confession, and Parris tries to persuade Rebecca, who has been brought in on the way to the gallows, also to confess. She refuses to damn herself with the lie. John is asked to sign his confession, that it may be exhibited before the town. But this is too much: he has deeply shamed himself by confessing, but he will not set his hand to the destruction of his own name-and the eternal shame of his sons. Hc tears up the document. In fury Danforth orders John and Rebecca to be led out to execution. Hale pleads with Elizabeth that she change John's decision while there is yet time. She refuses: "He has found his name and his goodness now-God forbid I take it from him." Images-and Texts about the Salem Witch Trials A Modeft Enquiry I«to the Nature of Witchcraft A N D How Fcrlbns Guilty of that Crime may he Cenviftcd/ : And the mean*, ulcd for their Dilovery DilcuflW, both Nr%.iti-vtly and AffirmMhiclj. .•according to SC R ITJVKE and EXPERIENCE. " B y Joljn J?ale, Paftoroi the Cbuich of C h r i l t i n ^ Lcverltj, lVht< 'btffay • » « . ? * * » J n k . > h m t b * t hmnt /•rt.Mjr Sprits axd I W a VTi^iprAijkti p r r f & t T» i t * t . * w * * J tt l b * Ttthtnstej ; if ibty ffrjf m t *!> th'ti t i r ^ ' i i ii htectiU iheri u l i s '(r« « '•->••, luiih vm. 19,1.0. T(JJ; «AM/I I, (re nit Utah flam trie, J A' I.4 |Z* ' O STON tn iV. JE. j). G u m , and 7- for itt under i n c Town H n u i e . i - w a A b o v e : " T h e T r i a l o f G e o r g e J a c o b s , A u g u s t 5, 1 6 4 2 " by T i l , M a U c s o h . I K«5 L e f t : the i n s i d e c o v e r ol".1 b o n k w r i t t e n by Rev. I Into o n the e x a m i n a t i o n o f w i t c h e s . WARRANT FOR THE ARREST OF ELZABETH PROCTOR AND SARAH CLOYCE (APRIL 4, 1692): There Being Complaint this day made (Before us) by capt Jonat Walcott. and Lt Natheniell Ingersull both of Salem Village, in Behalfe oftheire Majesties for themselfes and also for several!, 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 ofWitchcrafi 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 daughterofthe abovesaid Complainants, And Ann Putnam and Marcy Lewis of the famyly of Thomas Putnam of Salem Vilhige whereby great hurt and dammage hath beene donne to the Bodys of s'd persoris above named therefore Craved Justice. You arc therefore in theire Majest's names hereby required to apprehend and bring before us Sarah Cloyce the wife ofpeter Cloyce of Salem 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 I'owne, in order to theire Examination Relateing to thepremesis aboves d and here of you are. not to faile Dated Salem Aprill 8 'th 1692 To George Herick Marshall of the County of essex John Hathorne Jonathan Corwin Assists l i I lie Deposition ol Sam Parris, Nathaniel Ingersoll, and Thomas Putnam [pictured hclow| The Deposition of Sam: Parris aged about.39.years, & Nathanael Ingcrsol aged aliout fifty & eight years, & Thomas Putnam aged about fourty years all of Salem -tcstifyeth & saitli that John Indian, Ann Putm.in cV Abigail Williams & others of llie bewitched persons were sever.ill (INKS CS: givivnti.sly loriured ai the Examination of Elizabeth Proctor wife to John Proctor of Salem Earmcs before the Efonoured Magistrates the. H'th April. 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 Abigail Williams & Ann Puiman then testifyed that they saw this Eliz: Procior& her husband John Proctor severall limes affliclingol Bathshua Pope the wife of Joseph Pope of Salem Yeoman, at which times the said Bathshua Pope was seized with violent fits: & farthet that the said Abigail Williams & Ann Putnam, both of them made offer to strike at said Eliz. Proctor, but when said Abigails hand came near lo said Eliz: Procior ii opeiul (whereas it was made up inio a fist before) is; came down exceeding lightly as it drew near to said Proctor, 6i at length with open & extended fingers touche said Proctors hood very lightly, & immediately said Abigail cryed out, Oh! my fingers, my fingers, my fingers burne, & Ann 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 thorn. 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. >j)jft>«^  of fa*** : a^~L oA« i . . . « U H . 0*- - ^ O U A « A £ . ^HAVVSC-fr<"*p }4t*Kf aOt *f J<J2un~ - „ — —-i</y{j'*< < y K * L - C^C ^ > t u v f A'"*- A**-""-, ^vf^f**^ V ^ - A A / M UBU^ of w/tu It. * HI initio &f.fu,i')^al*jn- \c ?pt<\4 a u<vt<l iko far~m. * . . ")'•/>••' I.-- | i« tf-.-.'W" fr *"jt«^ ;••'>•• /Vfr-. ..I .jKttwspiMt'i.^ />,/«. vi. f  Jc"''~ 'T* f***% in..' \f.,_ Pi*'!'*, /»*. lm* hjcu£-CU (.+ -t&H*J 'iLvrflO 1nJ*UL. «f> 'WI>I'.' ( a n r hifi' lo •f M * V / / ~ „ '• / < ~ ^ . /H i * ' - , *••<- «/..»« . 7;... V „ . ^ <..v'//*— ' M . J W ^ » * ' . ; J*>/IM fn€.om i*^f-' ;ii*l ,1 it To learn more about the Sa lem Witch Trials, visi l the website hltp://elext.virginia.edu/salem/witchcraft SIEGFRIED JERUSALEM (tenor) IN C O N C E R T 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. S A T U R D A Y M A R C H 17 , 8 : 0 0 p m Tickets available at Ticketmaster [280-3311] or call the Chan Centre Box Office at 822-2697 U p c o m i n g E v e n t s UBCMUSIC Masterciasses with Siegfried Jerusalem M a r c h 12-14 O l d Audi tor ium March 15 Recital H a l l Student Concert Admission: $5.00 for each class and student concert Masterclass Pass: Admission to all Masterciasses and the Student Concert: $20.00 U B C music students: Free admission A Concert o f Operatic Excerpts March 23 & 24 8:00pm Chan Centre for the Performing Arts U B C Ensemble, U B C Choral U n i o n , U B C Symphonic W i n d Ensemble Admission by donation U B C Symphony Orchestra A p r i l 5, 12:30pm Apri l 6, 8:00pm Chan Centre for the Performing Arts Free admission Masterciasses with D a w n Upshaw A p r i l 12, 12:00pm-2:00pm C han Centre for the Performing Arts Admission: S10/S1 5 at the door Opera Bon Bons A p r i l 20 & 21, 8:00pm Apr i l 22, 3:00pm O l d Audi tor ium Excerpts from Othello, Hamlet, Romeo and Juliette, Sir John in Love, and Faust Guest directors: Irving Guttman and M a r i H a h n Admission by donation For more concer t information visit T h e Schoo l of Mus ic webs i te at: w w w . m u s i c . u b c . c a or p h o n e 822-5574 

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