Theatre has always been a mirror to society, reflecting its triumphs, fears, and injustices. Few directors understand this as profoundly as Ola Ince, whose bold reimaginings of classic texts have cemented her as one of the most exciting and politically engaged voices in contemporary theatre. Now, she is set to make history as the first director to stage a modern classic Arthur Miller’s The Crucible at Shakespeare’s Globe, a space traditionally reserved for Elizabethan and Jacobean drama. This production is not just a milestone for the Globe but a testament to Ince’s fearless approach to theatre as a form of activism, a medium through which she interrogates power, race, and systemic oppression.
Ola Ince has built a reputation for reinvigorating classics with urgent contemporary relevance. Her 2024 production of Othello for the Globe set within a modern police force and later broadcast in cinemas nationwide was a masterclass in reframing Shakespeare to expose institutional racism and toxic masculinity. By casting Othello as a Black senior officer navigating a prejudiced system, Ince transformed the play into a searing commentary on race, authority, and betrayal in modern Britain.
Similarly, her radical interpretations of works like Romeo and Juliet (set in a dystopian, divided London) and Pygmalion (reimagined with a Black Eliza confronting class and racial microaggressions) prove her commitment to theatre as a tool for social change. Now, with The Crucible, she turns her lens to mass hysteria, false accusations, and the persecution of the marginalised themes that resonate powerfully in today’s political climate.
Miller’s 1953 play, written as an allegory for McCarthyism’s witch hunts, is a blistering critique of fear-mongering and scapegoating. In an era of fake news, political extremism, and culture wars, The Crucible feels unnervingly prescient. Ince’s production is expected to draw explicit parallels between the Salem witch trials and modern-day moral panicswhether around migration, racial justice movements, or LGBTQ+ rights.
Given Ince’s history of centring Black and working-class narratives audiences can anticipate a Crucible that interrogates who gets branded a “witch” in today’s society. Will she draw connections to the Windrush scandal, where innocent people were wrongly accused? Or to the demonisation of activists like those in Just Stop Oil? Her approach will likely force audiences to confront uncomfortable truths about collective paranoia and complicity.
As a Black woman directing in a predominantly white, male-dominated industry, Ince brings a vital perspective to classical theatre. Her productions often highlight the intersection of race and gender, ensuring that stories of marginalised communities are not just included but centred.
In The Crucible the character of Tituba the enslaved Caribbean woman whose coerced confession sparks the trials could take on new depth under Ince’s direction. Rather than a fleeting, exoticised figure (as she is often portrayed), Tituba might become a symbol of colonial exploitation and silenced voices. Similarly, the play’s young women whose accusations destroy lives could be framed as products of a patriarchal system that pits women against each other.
Ince’s signature style visually striking, emotionally raw, and unflinchingly political promises to make this Crucible a landmark production. Expect immersive staging, haunting soundscapes, and a diverse cast that challenges traditional period drama conventions.
The Globe’s decision to stage The Crucible under Artistic Director Michelle Terry and Ince’s direction marks a bold departure from tradition signalling that the theatre is evolving beyond Shakespearean confines to engage with modern classics that speak to today’s crises , and we no doubt have their inspirational new CEO, Stella Kanu to thank for this new direction. And for Ince, this is another opportunity to prove that theatre is not just entertainment it’s a battleground for justice.
As audiences gather under the Globe’s wooden beams this season, they won’t just witness a play about 17th-century witch trials they’ll be confronted with a searing reflection of our own society’s divisions. And with Ola Ince at the helm, one thing is certain: no one will leave unchanged.
