On the day the world is blown up, the playwright whose show opened the night before will be leafing past the news section of the Times to find his review — as he ascends through the stratosphere, oblivious.

The Crucible became by far my most frequently produced play, both abroad and at home. Its meaning is somewhat different in different places and moments. I can almost tell what the political situation in a country is when the play is suddenly a hit there — it is either a warning of tyranny on the way or a reminder of tyranny just past.