Reviewing Theatre For Over 40 Years
“A View From the Bridge” – Disturbingly Current, Classically Miller
September 21, 2016Posted by on
Now the intense New Vic production of one of Miller’s greatest works, “A View from the Bridge” has arrived at the Ahmanson straight from New York, where it won a host of honors, including two Tony Awards. As a production it is stunning: contained (both literally and figuratively), visceral and achingly tragic. Given the current political climate, it also proves disturbingly timely for a piece written in the mid-1950s.
The tale concerns life in an Italian-American neighborhood near the Brooklyn Bridge, one closely associated with the dockworkers at New York Harbor. Based on an actual tale told to Miller by a longshoreman, it concerns Eddie, who has developed an obsessive love for Catherine, the orphaned niece he has helped to raise. When his wife Beatrice arranges for two cousins to enter the country illegally from Italy, and Catherine falls in love with one of them, Eddie’s possessiveness explodes.
One of the things which sets this work apart from other Miller works is the use of a sort of chorus, or narrator. He appears in the form of Alfieri, the lawyer who grew up in the same neighborhood and now provides what legal help he can for those who run afoul of local law, immigration or other elements of this insular community. This addition is at once both clarifying and disturbing.
Director Ivo Van Hove has created a sense of watching a man in a cage of his own making, utilizing Jan Versweyveld’s box-like cube of a set to define the limitations of both Eddie’s understanding and ability to exercise the control he feels is necessary to his manhood. As a result, we as an audience are as much voyeurs as Alfieri is, watching a possibly preventable tragedy happen without being able to do anything about it.
Frederick Weller leads the cast as Eddie, played as a man constantly wound tight by his need for control. His whole body often seems to sock the air he walks through, as if to underscore his sense of manliness. This, contrasted with the two cousins hiding in his home.
Alex Esola’s Marco, a passionate and terrified family man arrived in the US to make money on the docks for his starving family at home, still operates with the ease of a man comfortable in his own physicality. Dave Register’s gentle Rodolpho moves with the lightheartedness of a man in love with life and the promise of a new country. Their intimidation factor, for Eddie, is thus as much a matter of muscle ease and tension as it is of plot.
As Catherine, Catherine Combs creates a girl at once childlike and womanly – still greeting the father-figure she sees in Eddie with a kind of girlish abandon, and yet smitten by Rodolpho’s enthusiasm for life. Andrus Nichols’ Beatrice balances emotional fatigue, innate jealousy and observational disquiet as she watches the dangerous dance the rest of the cast engages in. All this is bound together by the contextual narration of Thomas Jay Ryan’s almost flaccid Alfieri – a man with knowledge, but no power over anything the play contains, and a lawyer’s understated admiration for the straightforward seething which provides the story’s foundation.
Through all of it are Miller’s searing words which pound in the individual struggles: the tension between family loyalty and rigid neighborhood codes of conduct, Eddie’s desperate need to justify his growing hatred of Rodolpho by suggesting his lack of manly qualities, the struggle of Catherine to be seen as a woman, and of Beatrice to be seen as a wife. And always Marco, moving in quiet desperation as his children starve back home.
In short, this is a very good production of a very good, if disturbing play. Van Hove’s choreographic direction creates an elemental rhythm which gives the production its heartbeat. The use of a classic requiem as background underscores the feel of watching the death of an entire world in small. And each member of this polished and gut-wrenching ensemble gets all one can from the characters one can’t take one’s eyes off of, like watching a spectacular car crash.
Miller is always worth watching. This production is up to the mastery of the words.
What: “A View From The Bridge” When: Through October 16, 8 p.m. Tuesdays through Fridays, 2 p.m. and 8 p.m. Saturdays, 1 p.m. and 6:30 p.m. Sundays, with one 2 p.m. Thursday performance October 13 Where: The Ahmanson Theatre in the Music Center, 135 N. Grand Ave. in downtown Los Angeles How Much: $25 – $125 Info: (213) 972-4400 or http://www.CenterTheatreGroup. org