Broadway’s ‘John Proctor Is the Villain’ Explores #MeToo Through Teen Drama

NEW YORK — ‘John Proctor Is the Villain,’ a new play by Kimberly Belflower, premiered on Broadway on April 14, 2025, capturing the complexities of teenage life against the backdrop of the #MeToo movement. Directed by Danya Taymor, the engaging production features an ensemble cast led by Rising star Sadie Sink.

The play centers around five high school girls navigating personal and societal challenges amidst their discussions of Arthur Miller’s classic work, ‘The Crucible,’ in their literature class. Set in a rural Georgia town in 2018, the narrative explores themes of feminism, identity, and accountability through the lens of the #MeToo era.

Raelynn (Amalia Yoo) grapples with the aftermath of a breakup, while new girl Nell (Morgan Scott) struggles with fitting in. Ivy (Maggie Kuntz) faces the emotional toll of sexual misconduct allegations against her father, thereby impacting her friend Beth (Fina Strazza) and Shelby (Sink), who resurfaces at school after a mysterious absence.

Belflower’s characters openly discuss sexuality and form a feminist club, culminating in powerful revelations that complicate their friendships and challenge their beliefs. Emphasizing their journey, the dialogue ranges from light-hearted conversations to heavier themes of abuse and trust, effectively mirroring contemporary teens’ experiences.

The title of the play offers a provocative twist on the perception of John Proctor, inviting viewers to reexamine the protagonist’s legacy within Miller’s narrative and consider the impact on modern interpretations of masculinity and accountability.

“At first, I didn’t understand why Proctor was so revered, but this play reveals the intricacies behind that admiration,” said Sink in a recent interview. “It speaks volumes about understanding how our perceptions can shift based on our experiences.”

With the interwoven pop soundtrack featuring artists like Taylor Swift and Lorde, the show resonates with its audience, establishing emotional connections that resonate strongly. The pre-show playlist sets an energetic tone, reflecting the tumultuous emotions of adolescence.

Despite some predictable plot twists, the ensemble’s strong performances deliver moments of genuine surprise and depth. The characters’ realities are distilled into insightful dialogues that interrogate cultural narratives while ensuring the spotlight remains on their evolving identities.

The play features a positive critical response, with an impressive 94% approval rating on Show-Score from 485 reviews. The direction by Taymor is lauded for maintaining a brisk pace while effectively balancing humor and gravity, enhancing the emotional stakes without losing the essence of friendship that the characters embody.

In a poignant culmination, ‘John Proctor Is the Villain’ stands as a testament to young women’s journey and the reclaiming of narratives traditionally dominated by male figures, stimulating vital conversations about feminism, power, and accountability. Its exploration of the characters—and their shared struggles—challenges audiences to reflect on their definitions of heroism and villainy.

With its electric performances and contemporary relevance, ‘John Proctor Is the Villain’ is poised to become a modern classic in American theater.