Teresa Sanderson and the Spell Cast by Becky Nurse of Salem

When Pygmalion Productions chose to stage Becky Nurse of Salem, it was more than a season selection — it’s part of an ongoing mission. Running Feb. 6-21 at the Rose Wagner Theater, the Utah premiere of Sarah Ruhl’s dark comedy places a modern descendant of Rebecca Nurse at the center of a story about misogyny, legacy, addiction, spirituality and healing. For longtime company member Teresa Sanderson, who stars in the title role, the production also marks a deeply personal return to the stage.

“My mom swears that I came out with a script in my hand, and I sang way before I talked,” Sanderson says. “And it’s just kind of something that I’ve always been drawn to. I think my first acting gig was about seven, and I’ve literally done anything that I can to make a show happen. I’m happy to produce. I’m happy to be in it. I’m happy to direct it. I just love the creative process.” Sanderson has been intertwined with Pygmalion — originally Theater Works West — for decades. “I’ve been involved in whatever way they need me,” Sanderson says. That longevity mirrors the company’s stated mission: to produce theatre reflecting “issues, concerns and shared experiences in the lives of women,” giving voice to women playwrights, directors, performers and characters. Becky Nurse of Salem fits squarely within that ethos. Published by Theatre Communications Group (TCG) on May 14, 2024, the play follows Becky, a tour guide at the Salem Museum of Witchcraft and a descendant of executed “witch” Rebecca Nurse, who is immortalized as a wax statue at the museum. After losing her job and ending up in some financial trouble, Becky seeks help from a local witch, setting off magical and comedic chaos. Ruhl’s script blends historical reimagining with biting contemporary commentary, exploring female identity, addiction and the effect of public shaming.

“Morag Shepherd, who is the director, sent it to the theater company last year when we were looking for our season, and we fell in love with the script,” Sanderson says. “It’s so smart and it’s so timely, and there’s something that everyone can relate to in it.” For Sanderson, accepting the role was not automatic. “I honestly did not know if I would do it,” Sanderson says. “I had open heart surgery eight months ago. And so I was not sure that I could. I’ve directed a couple things, but I haven’t been back on stage since the surgery. So this is my first venture back on the boards, if you will. And I just feel so lucky… I like the challenge too. I love it.” Returning to performance has carried its own emotional weight. “To be able to get back and do what I really love is nothing but joy. And that’s gotta be good for you,” Sanderson says. Becky herself is a contemporary pilgrim, dogged by bad luck and searching for redemption through spells, pills and a bartender named Bob. “I love her; nobody lets me swear like that. It’s so fun,” Sanderson says. 

The play’s interrogation of Arthur Miller’s The Crucible resonates sharply for Sanderson, who is troubled by the feeling it is far too quick to not only make young girls the villains, but to do so by sexualizing the historical figure Abigail Williams, who is portrayed as 17 (though usually cast older), and was only 11 years old in real life. “I think you could ask any woman when she was first sexualized, and you would be shocked,” Sanderson says. “ I think it happened to me when I was about eight. I made a card for my Dad for Father’s Day. I think it said, ‘Let me be your pin-up girl.’” Sanderson points to the unfolding drama of the ever-increasing list of names in the files related to the Jeffrey Epstein investigation, and the need to listen to and believe women. The play touches on the #MeToo movement, as well as the “Lock her up!” chants that were so prevalent during and after the 2017 Presidential Election. “There’s some really subtle, powerful stuff if you’re listening,” Sanderson says. “And our audiences have been great.” The script also deals with the theme of addiction, as Becky finds herself battling a dependence on opioids. “There has been addiction in all of our lives. We’ve all seen the toll that it takes on people,” Sanderson says, reflecting on the way the play deals with so many weighty subjects with a cathartically comedic sensibility. “It’s been a lot of fun,” Sanderson says. “The staging is interesting, fast and fun. I’m just sorry there’s only three shows left. I’ll miss this one for sure.”

For Pygmalion Productions, every show ties back to its core purpose. In Becky Nurse of Salem, that purpose feels especially urgent: confronting historical trauma, interrogating misogyny and insisting that women’s voices be heard. For Sanderson, stepping back onto the boards in such a role is not just a professional milestone, but a reclamation.

Read more about local theater productions:
Into the Limelight: Fleet Co-op is Changing the Dance Industry
Pygmalion Productions Is on a Mission To Elevate Women’s Voices