A VIEW FROM THE BRIDGE. To 25 February.
Bolton
A VIEW FROM THE BRIDGE
by Arthur Miller
Octagon Theatre To 25 February 2006
Mon-Sat 7.30pm Mat 18, 22 Feb 2pm
Audio-described 22 Feb 7.30pm
Runs 2hr 15min One interval
TICKETS: 01204 520661
www.octagonbolton.co.uk
Review: Timothy Ramsden 15 February
A bold production boasting some fine performances.
New York longshoreman Eddie Carbone demands illegal immigrant Marco, who’s accused him of betrayal to the authorities, give him back his good name. But Eddie had ‘phoned Immigration, his target being Marco’s brother Rodolpho, who loves the niece for whom Eddie harbours over-fond feelings. Despite Arthur Miller’s references to Greek Tragedy, just when a tragic protagonist is seeing the light, Eddie still stumbles in the dark.
Damian Myerscough has Eddie’s direct physicality, though the emotion lacks depth. But Freya Copeland observes his unloved wife in fine detail. When the immigrants’ arrival is announced Eddie is initially happy; it’s Beatrice who frowns at her domestic unpreparedness. Later, her voice softens, after rebuking Eddie over the records Rodolpho and Catherine have bought, as she turns and talks to Marco.
Catherine Kinsella’s brown top and bright red skirt reflect the elements of girl and woman in her teenage character. A new red overcoat when she’s with Rodolpho shows where victory will lay. Yet Kinsella’s remarkably successful in showing the child still in Catherine with impulsive emotional reactions, pleasure in pleasing Eddie turning instantly to shocked tears and turning away at his unexpected anger.
James Kristian’s cheerful Rodolpho contrasts Craig Rogan’s Marco. Dark and self-contained, Marco understands Eddie’s hostility to his brother. He tells Rodolpho to conform to Eddie’s wishes but his tone when asking what the younger man did wrong clearly aims to defend him. The interpretation is consistent with Marco’s chair-lifting challenge to Eddie (when Rogan’s lifted the chair he holds it over Eddie’s head) and makes the drive to the final contest more concentrated.
Hannah Clark’s set contrasts domestic intimacy below with a huge gallery, sometimes veiled behind bleak industrial panels. It’s impressive though awkward at moments involving both spaces. Shifting the Carbones’ furniture after Eddie's treachery disrupts things is thematically sound but denies would-be peacemaker Beatrice a context for her final pleas.
After this clear production, it’s a shame director Mark Babych finally has the chains overhanging the stage clatter to the floor, as if neither writer nor actors could make the play’s point themselves. They can, and do, forcefully.
Mike/2nd Immigration Officer: Antony Bessick
Beatrice: Freya Copeland
Catherine: Catherine Kinsella
Rodolpho: James Kristian
Alfieri: Keith Ladd
Eddie: Damian Myerscough
Marco: Craig Rogan
Louis/1st Immigration Officer: Martin Welsh
Red Hook Community Members: Adam Atkinson, Gislaine Bahis, Judith Bailey, Ed Barry, Richard Beanland, Peter C Birch, Antonio Bottari, Tina Dunn, Evelyn Hough
Director: Mark Babych
Designer: Hannah Clark
Lighting: James Farncombe
Sound: Andy Smith
Composer: Ivan Stott
Dialect coach: Sally Hague
Fight director: Kate Waters
Assistant director: Catherine Paskell
2006-02-20 00:53:14