The crux, of course, is the center of the matter. The word is linguistically related to cross and crucible, terms that evoke images of sacrifice and scorching heat. Pittsburgh Public Theater's Young Company, in the summer heat, hits center with a revivalist version of Arthur Miller's American classic 'The Crucible,' while sacrificing only a little to inexperience and innovation. Miller's scathing criticism of Senator Joseph McCarthy's 1950s witch hunt through the Salem witch trials is widely known. For those who need or want a little more background, there is plenty to be found in the Young Company's brochure that can be picked up in the theater lobby. It also provides Web sites and books for further reference. And it's a reminder of the educational thrust of this production, put together mostly by students or recent graduates from theater programs around the country. Without some background, listening to Zach Moore's gospel-inspired soundtrack, looking at Andrea Shockling's scenery and Janice Zeller's costuming, you will not know that Miller set the play in 17th-century Massachusetts. Shockling puts a light-blue stockade around the stage and hangs a similar roof-like frame above. The ambiguous planking might conjure up steeples, stained glass, ice sickles or daggers ominously hanging over the characters. Sitting before the O'Reilly Theater's golden oak trim, the fencing alternately feels like 'Appalachian Spring' or the simple interior of a modern evangelical church. The Appalachian and evangelical references are echoed in some of Zeller's costumes that are a postmodern spattering. Deputy Governor Danforth (David Nevell) and his legal hounds wear suits and ties, the clergymen are more Catholic than Pilgrim, the bewitched schoolgirls look like they are out of parochial school, and leading character John Proctor (Chris Cardenas) wears a buckskin jacket. The latter is half 'Easy Rider' and half Daniel Boone. Director Timothy Douglas gives his young designers an opportunity to stretch in many directions, creating a challenging and earthy blend of colors and styles, but they make Miller's universal warning (this tragedy can happen in any time in any place) too obvious.

Douglass, one of two veterans involved in the production, seems to be experimenting and stretching a bit as well. He creates some stunning stage pictures, framing groups of characters by color and thematic affiliation around steps that are a metaphorical chancel or altar. But there are small bits of movement that feel unfocused and awkward. Others are too clearly setups for the next lovely stage picture. Douglass and the Young Company producers ask their actors to stretch as well. Naturally, some flex better than others. As Abigail Williams, Kelly Trumbull couldn't be more evil. At any moment, it wouldn't be a surprise if her head turned around a la Linda Blair in 'The Exorcist.' It's hard to believe, though, that the handsome and intelligent John Proctor would ever fall for this rampaging china shop bull. Cardenas, perhaps less rugged than one might expect for a Massachusetts farmer, is a sensitive and engaging actor who makes all of the big moments work. In the very difficult role of the Reverend Paris, Jonny Petterson carries the age and bitter jealousy of the small-minded cleric. Among the many solidly performed supporting roles, Tony Clarno shows psychological depth as Marshall Willard; Ngozi Anyanwu is a sympathetic Tituba; Jamie St. Peter (Rebecca), Corey Rieger (Giles) and Andrew Place (Francis) do yeomen's work portraying aging characters. Nevell, as the Actors Equity guest artist, works generously within the student ensemble. He delivers Danforth's lengthy speeches with self-assured precision, showing human intelligence sadly corrupted by power and pride. Dealing with professional actors, adapting to production innovations, working as an ensemble and learning to stretch are all tasks that beginning actors need to experience. The Public does that for this Young Company. Better yet, while learning, they maintain the emotional crux of a great play. The Pittsburgh Public Theater's Young Company's production of 'The Crucible' plays at the O'Reilly Theater, Downtown, through Sunday. Performances: 8 p.m. today, Thursday, Friday and Saturday; 7 p.m. Wednesday; 2 p.m. Sunday. Tickets are $15; $10 for students. Details: (412) 316-1600.

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