@ Lyceum Theatre, Edinburgh, until Sat 19 Mar 2016

John Dove’s staging of Arthur Miller’s perpetually relevant allegory is a rocket of a play, a bruising tragedy of zealotry and political duplicity delivered with the screwball intensity of classic Hollywood. Yet, by some feat of alchemy – witchcraft even – Dove and his outstanding cast find the intricacies and the moments of calm and levity, allowing the audience to breathe, and marvel.

It is in these moments of stillness that one appreciates the craft on display, as the actors litter the stage in tableaux that recall the compositional eye of the low country masters like Rembrandt; aptly, as they painted almost contemporaneously with the 17th Century setting. The set design by Michael Taylor is sparse and austere, as unobtrusive as possible. One gets the feeling the puritan characters would approve.

As events rapidly spiral, one almost pleads for a voice of clarity and sanity to make it stop, aghast at the inevitable unfolding before us. How much is misguided religious fervour? How much is cynical manipulation in order that enemies are punished?

Meghan Tyler as Abigail Williams, perhaps the main catalyst for the witch hunts, pitches her pivotal role perfectly. She carries off the balancing act between comeliness enough to turn the head of John Proctor (Philip Cairns) and enough youthful innocence to manipulate the citizens of Salem that she’s been the victim of sinister forces at work in the town.

Also hugely impressive is Ron Donachie as Deputy Governor Darnforth, imposing and effortlessly authoritative when the witch trials are in full swing. Even on a crowded stage, his presence draws the eye. He teases hints of compassion and a capacity for reason from his character that eludes the likes of the wrathful Reverend Parris and the oleaginous clerk Ezekiel Cheever. It makes the final judgment so much more impactful than if he were to be a one-note font of judicial vengeance.

Perhaps the standout however is Irene Allan as Elizabeth Proctor. She is simply stunning in her portrayal of dignity. Even as a wronged woman who understandably turns out of her home the young woman who has seduced her husband, she remains a model of matrimonial devotion and loyalty. Hers is the great emotional journey of the story, and it is impossible to be unmoved by her fortitude and pride in her husband as he arrives at his Sydney Carton moment.

A stunning work of both thematic depth and accessibility, The Crucible is breathless, relentless and completely exhilarating. As the lights come up and the actors leave the stage, one feels like emerging from the eye of a storm.