John Proctor is the Villain - Royal Court Theatre

Once in a while, we come across a piece of writing that is so masterfully crafted that it feels like nothing short of pure genius. Now, this doesn't happen often, and it is even more rare that this piece of writing unites the minds of its viewers in agreement with this assessment. This play by Kimberly Belflower is that piece of writing.

John Proctor is the Villain is a one-in-a-lifetime production—a show that speaks to every generation alike. Handling topics as delicate as consent, and more broadly feminism, in the midst of the #MeToo movement, Belflower never shies away from the controversial. Through the voices of 16-year-old students in a small "one stop-light town" in Georgia, USA, Belflower advances those topics through meaningful conversations. As the students are taught Arthur Miller's The Crucible, they learn that literature can be more than just fiction.

Camilla Greenwell

The characters each have their own unique qualities and faults, but are all equally endearing. Without giving too much away, as the element of surprise in this production really is the epitome of its genius, the cast portrayed these people with such ease that one was entirely immersed in the scenes, almost forgetting that the story was fiction. Dónal Finn, in the role of the beloved English Teacher, Mr Smith, was extremely charming and brilliantly nuanced. Sadie Soverall, as Shelby, portrayed the darkness in her character, as well as its joys, with remarkable flexibility. But the highlight performance for this reviewer was delivered by Holly Howden Gilchrist in the role of the serious and loveable Beth. On a personal note, she is a character this reviewer truly identified with, and Gilchrist's performance embodied every facet of Beth in a truthful and meaningful way.

Camilla Greenwell

The set design for this production, much like every show this reviewer has been fortunate enough to see at the Royal Court, is utterly stunning. Set in Mr Smith’s English classroom, the designers (AMP, featuring Teresa L. Williams) ensures that no detail is overlooked. Every element feels carefully considered; while it’s clear no expense was spared, the design never tips into excess, instead maintaining a sense of authenticity and restraint. The stage feels lived-in and entirely believable, grounding the action in a recognisable reality. In doing so, it not only supports the performances but quietly enriches them, allowing the audience to become fully immersed in the world of the play.

I've said it earlier, but it is important that this is re-stated, as it cannot be said enough: what Belflower has created here is nothing short of a dramatic masterpiece. No stone is left unturned, no storyline underdeveloped, and no character left behind. It is no wonder that this production has sold out so quickly - but go see that show, even if you have to beg, steal, or bribe for a ticket.

Production Value: 100%

Value For Money: 100%

Personal Enjoyment: 100%

Overall Score: 100% - ⭐️⭐️⭐️⭐️⭐️ (5*)

(AD | Ticket gifted in exchange for an honest review)

Show Information

Venue: Royal Court Theatre, London

Playing until: 25th April 2026

Run Time: Approximately 1h50, with no interval

Tickets for this production are now SOLD OUT. Check the theatre's website regularly for returns.