A VIEW FROM THE BRIDGE. To 16 May.
London.
A VIEW FROM THE BRIDGE
by Arthur Miller.
Duke of York’s Theatre To 16 May 2009.
Mon-Sat 7.30pm Mat Wed & Sat 2.30pm.
Runs 2hr 20min One interval.
TICKETS: 0870 060 6623 (£3 transaction fee).
www.aviewfromthebridge.com
Review: Timothy Ramsden 9 February.
Strong central performances in a production that could find more variety of tone.
An old argument’s reignited in London, as Arthur Miller’s “on the waterfront” drama squares up in the West End to Steven Berkoff’s stage adaptation of the Elia Kazan-directed film. Prominent American critic Eric Bentley pointed out in the fifties that Kazan, who had named people to the UnAmerican Activities Committee, directed On the Waterfront with its favourable depiction of naming names, while Miller, who’d refused, wrote this play where snitching is taboo.
But there’s also the play’s nod to Classical Tragedy, in lawyer Alfieri’s Chorus-like mix of advice to the protagonist and commentary on events, and in the theme: that settling for half is safer than being “wholly known”.
A moment sums up the strands in Eddie’s identity late on, when Marco, who’s about to be deported because Eddie’s jealousy over fellow-immigrant Rodolpho’s love for young Catherine leads the longshoreman to report the illegal immigrants to Immigration. “Eddie Car-bone-ay” the vengeful Marco screams through the street. “Eddie Car-bone” Ken Stott replies, adopting the American pronunciation used hitherto.
Gerard Monaco’s Marco, suggesting perception and strength just by his presence, moves from accommodating the wishes of the man who’s accommodating them to silently watchful concern as Eddie’s hatred of Rodolpho boils over. There again, Ken Stott’s grizzled Eddie provides a lot to respond to. His energetic anger explodes in waves of eventual submission to the innocent wishes of the girl who’s becoming a woman without realising her attractiveness.
Eddie’s as innocent as Catherine of his desire for the young woman, believing it's Rodolpho’s feminine skills, suspect sexuality and – as he thinks – exploitation of the young woman’s affections to marry into American citizenship that’s infuriating him.
Stott’s Eddie moves through modes of anger and denial before breaking the divide between community and authorities, something even lawyer Alfieri advises against. Finally Stott, sitting alone at his table, seems collapsed, before masking his guilty betrayal with bravado. Alongside are fine performances in Lindsay Posner’s awkwardly staged production that tends to resort over-soon to high-pitched emotion. Still, if it’s not the best View ever seen, as the one currently on offer it’s a pleasing enough prospect.
Louis: Antonio Magro.
Mike: Anzo Squillino Jr.
Alfieri: Allan Corduner.
Eddie: Ken Stott.
Catherine: Hayley Atwell.
Beatrice: Mary Elizabeth Mastrantonio.
Marco: Gerard Monaco.
Tony/Mr Lipari: John Moraitis.
Rodolpho: Harry Lloyd.
1st Immigration Officer/Neighbour: Jonathan Jaynes.
2nd Immigration Officer/Neighbour: Philip Desmeules.
Mrs Lipari: Julia Barrie.
Submarine/Neighbour: Peter Basham.
Neighbour: Abby Forknall.
Director: Lindsay Posner.
Designer: Christopher Oram.
Lighting: Peter Mumford.
Sound: Adam Cork.
Dialect coach: Penny Dyer.
Fight director: Terry King.
Associate designers: Andrew D Edwards, Richard Kent.
2009-02-12 08:27:53