Seen at the National Theatre last autumn Lyndsey Turner's fine production of this timeless play has moved into the West End for a season with some cast changes, notably Brian Gleeson as John Procter, charismatic and powerful, and Milly Alcock as Abigail, Williams, the abused servant who is central to the claims that witches are prevalent in Salem. The play written in 1953 referred back to the McCarthyite days but it remains every bit as relevant now when - there may be no witches just as there were none then in Salem and no hysterical girls setting things in motion - we have the internet, the social media world where allegations based on anything but the truth are rife and careers can be destroyed. Turner helped by a magnificent set by Es Devlin, all shadows and blackness, conjures up the world of Salem, a small New England settlement, where in 1692 the daughter of one villager falls mysteriously ill, rumours of young girls dancing in the woods spread, the local pastor sees it all as the work of the devil, inquiries are held and allegations are made mostly by the men - claim someone is wrong doing and maybe one can acquire their land - and everything spirals out of control. John Proctor is a farmer living outside the town. His wife Elizabeth has been ill, he is a lusty man and the maid Abigail is maybe too willing - today she might be seen as more abused than anything - and the events that follow as the minister, a bigot, the judge and the state governor all come to pass judgement and Proctor fights for the truth. It is the sort of production seldom seen in the West End now - large scale, serious, the work of a major playwright - and all the more welcome for that. At least it is not Witches the Musical. For once something worth the ticket price. It is wordy, there is an irrelevant introduction setting what follows in context and the curtain of rain which Devlin has created is more of a distraction than anything that adds to the story - it is the blackness behind, a world of candles and lonely homesteads that matters. It is a time and aplace where a lie can spread until it becomes a truth - but the thing is that world still exists. Gleeson is outstanding, gets fine suport from Caitlin Fitzgerald as his cold but loving wife, and Fisaye Akinade,as the first investigator, the Reverend John Hale, creates a fine portrait of a man who comes to realise just what has been going on. However, the strength of the evening is that this is an ensemble cast working in perfect harmony.

Tituba - Nadine Higgin; Reverend Samuel Parris - Nick Fletcher; Betty Parris - Amy Sudden; Abigail William - Milly Alcock; Susanna Walcott - Grace McGonigal; Ann Putnam - Zoe Aldrich; Thomas Putnam - Alistair Parker; Mercy Lewis - Joy Tan; Mary Warren - Nia Towle; John Procor - Brian Gleeson; Rebecca Nurse - Tilly Tremayne; Giles Corey - Karl Johnson - Reverend John Gale - Fisaye Akinade; Elizabeth Proctor - Caitlin Fitzgerald; Francis Nurse - Colin Haigh; Ezekiel Cheever - Ralph Bushay; Marshall Herrick - Tama Phethean; Matthew Hopkins - David Ahmad; Martha Corey - Stephanie Beattie; Judge Hawthorne - Henry Everett; Deputy Governor Danforth - Matthew Marsh.

Ensembe - Christopher Birch; Lucy Brindle; Grace Farrell; Chyna-Rose Frederick; Miya James; Ebony Jonelle; Samuel Townsend.

Director - Lyndsey Turner; Set Designer - Es Devlin; Costume Designer - Catherine Fay; Lighting Designer - Tim Lutkin; Sound Designers - Tingying Dong & Christopher Shutt; Composer - Catherine Shaw; Music Director and Arranger - Osnat Schmoel; production photographs - Inkhoff-Moegenburg.