Reviewing Theatre For Over 40 Years
The Taper’s “The Price”: The play may have issues, but the acting’s a treat
It depends on what matters to you in a theatrical production as to whether Arthur Miller’s “The Price” at the Mark Taper Forum will meet or disappoint your expectations. If you enjoy watching peak-quality actors create and run around in characters created by one of the rarest talents of the 20th century, you’re in for a treat. If you’re looking for greatness in the script itself, well, there is a reason “The Price” isn’t the play which trips off the tongue at mention of Miller’s name.
The tale has two vastly differing segments, divided by an intermission. Both take place in the apartment of a once-influential, rich man who lost everything in the stock market crash of 1929. Now, in the mid-sixties, he has died, his whole apartment building is due to be razed, and his sons – one the disappointed career cop who helped to support him, the other a successful surgeon who left him behind – must either take or sell what remains of his household goods.The first segment is high on a kind of practical comedy, as Walter, the cop, must joust both with is frustrated wife and with the clever, if ancient Gregory Solomon – the furniture appraiser he has called to bid on the apartment’s contents. The second opens raw wounds, as the surgeon, Victor, appears radiating a sense of command and of the rightness of his more youthful actions. Through it all, Walter’s wife underscores the importance of money in all of this, and in her evaluation of them both.
The true star of the Taper production is Alan Mandell, whose Solomon radiates with the practical combination of earnest wisdom and manipulative coercion which makes for a good salesman. He makes the comedy this character represents organic to the play, a seamlessness far harder than it looks.
John Bedford Lloyd gives Walter the earnest solidity one expects from a lifelong cop and the seething resentment of a man who feels forced to abandon his own dreams by those who would not abandon theirs. Sam Robards’ Victor embodies the confidence of a man broken by his own success, yet still radiating with an inner focus which makes him appear unbending even as he reaches out. Kate Burton, as the disappointed Esther, makes her a dreamer with practical roots, trying hard to find meaning in a life she did not choose.
Matt Saunders’ surreal yet fascinating set design allows the stage area to shrink into a tiny space where all the characters collide not only with themselves but with the dead father whose innate presence and actions are the elephant in the room. Director Garry Hynes acts as choreographer, moving characters in and out of center focus with the precision of a gavotte, and keeping the whole thing both earnest and to some extent underplayed – a great way to feel the tensions rise.
Still, “The Price” as a play has its flaws, seeming almost two one-acts kind of sewn together. Even so, the performances are so strong they become worth the adventure all by themselves. In particular, a chance to catch Mandell is particularly worth the trip. Last seen at the Taper in “Waiting for Godot,” in a part he originated for Samuel Beckett, he is a remarkable talent proven over an 80-year acting career.
What: “The Price” When: Through March 22, 8 p.m. Tuesdays through Fridays, 2 p.m. and 8 p.m. Saturdays, 1 p.m. and 6:30 p.m. Sundays Where: The Mark Taper Forum, 135 N. Grand Ave in downtown Los Angeles How Much $25 – $85 Info: (213) 628-2772 or http://www.centertheatregroup.org