Whereas prior studies have focused on Arthur Miller's play The Crucible in relation to the Puritan past of the United States of America, this article looks at the play's present in relation to a future. If, as is the case, the play is an intervention in its contemporary circumstances, this is obviously with the aim of moving towards a better future. The question then becomes: how does the play deal with the past in the way that the Salem trials (1692) relate, by means of a theatrical intervention, to a future? In the twentieth century the relation of theatre, and of theatricality in general, with the future was paradigmatically explored in the work of Bertolt Brecht. In his view, the role of theatre was to produce a distance, not an unreflexive and emotional involvement in a plot. This distance or alienation was necessary to make people see behind the scenes of the socio-political and economic system, as a result of which they would start to think and become able to act in order to change the course of history. This appears to be an essential strategy as well if we think about the powers of spectacle, as they have been dealt with in previous studies in performance research, and a possible theatrical response to them.