The tone of The Crucible—aside from a brief interlude of scandalized giggling during the teenage rituals with Tituba at the beginning—is broadly tense and politically focused. The tone reflects the gravity of the real tragedies that occurred during the Salem trials, and the painful moral dilemmas John and his companions must navigate.
Initially, the tone is confused and ominous, as the accusations of witchcraft begin to emerge rapidly even as their sources seem unreliable. When the magistrates and church officials start to take the statements from the town’s young women seriously, the tone becomes far darker and more serious. A sense of dread permeates the early scenes where warrants are formally delivered to people’s homes, signaling the impending chaos.
As the accusations spread and the court proceedings intensify, the tone shifts to one of panic. The audience watches as accusations they know are false are taken totally at face value. Characters who seem sensible and truthful are brazenly accused and murdered on the word of children. The escalating involvement of more community members heightens the sense of urgency and fear even further. By the time Proctor is imprisoned, the tone has become frenzied.
As the trials progress, the tone becomes increasingly despairing; Miller really leans into depicting the paranoia of the town, as people accuse each other to protect themselves. Toward the end of the play there’s a tone shift, however, as Proctor refuses to take part in the cycle of accusation and condemnation. His decision to maintain his integrity, even at the cost of his life, imbues the play with a sense of justice when it otherwise seems totally lost. The audience is left to think about how paranoia and self-regard function in their own societies.