Sadie Sink dazzles in Broadway debut “John Proctor Is the Villain”, a sharp, timely spin on “The Crucible”. Directed by Danya Taymor, it’s a must-see!
Sadie Sink, the Stranger Things breakout who captivated audiences as Max Mayfield, has returned to her theatrical roots with a commanding performance in John Proctor Is the Villain, now playing at Broadway’s Booth Theatre. Directed by Tony winner Danya Taymor (The Outsiders), this sharp, contemporary comedy reimagines Arthur Miller’s The Crucible through the eyes of a Georgia high school English class.
As Deadline’s review underscores, Sink’s portrayal of a student wrestling with the play’s legacy—and its echoes in her own life—propels a production that feels both timeless and urgently of the moment.
John Proctor Is the Villain, penned by Kimberly Belflower, unfolds in a rural high school where teenagers dissect The Crucible amid their own tangle of romances, rivalries, and revelations. The twist? As they study Miller’s tale of hysteria and heroism, they begin to question John Proctor’s saintly reputation, reframing him as a flawed figure whose actions ripple into today’s conversations about power and accountability. The play weaves in threads of the #MeToo movement, gender dynamics, and the agency of youth, transforming a classroom exercise into a bold social critique.
Deadline hails the production for its “uncommon nuance,” drawing comparisons to Kimberly Akimbo for its tender yet unflinching portrayal of adolescence. Sink, as Shelby, emerges as the emotional core—a young woman whose journey mirrors Abigail Williams’ defiance but lands in a place of hard-won clarity. The review calls her performance “shattering” and “deeply satisfying,” especially in a climactic scene where the students band together to confront the adults shaping their world.
The ensemble, bolstered by a creative team including scenic designer AMP featuring Teresa Williams and lighting designer Natasha Katz, brings the story to life with wit and visual flair. Pops of humor and a soundtrack laced with contemporary music amplify the play’s youthful energy, while its deeper commentary lingers. “Absolutely of the moment,” Deadline declares, praising its blend of entertainment and insight.
What’s equally compelling is the play’s path to Broadway. Born from a 2018 workshop, John Proctor Is the Villain has been staged in nearly 100 nonprofessional productions—many at high schools and colleges—before its professional bow. This grassroots momentum underscores its resonance with a generation eager to rewrite the narratives they’ve inherited.
Broadway’s recent seasons have leaned into stories that challenge convention, from Slave Play to The Inheritance, and John Proctor Is the Villain fits squarely in that lineage. By dismantling a theatrical sacred cow like The Crucible, Belflower’s work doesn’t just critique history—it hands the mic to a new wave of voices, particularly young women. Sink, already a streaming sensation, lends star wattage to a production that could ripple beyond the stage, sparking debates about how we teach, interpret, and live with our cultural touchstones. In a theater landscape hungry for relevance, this play delivers.
John Proctor Is the Villain opened officially on April 14, 2025, following previews that began March 20 at the Booth Theatre. Tickets are available via the official Broadway website and authorized vendors. For audiences craving a mix of stellar performances, sharp writing, and a fresh perspective, Sink and company offer a production that’s as thought-provoking as it is electrifying.
source DEADLINE
