A View From The Bridge
By Arthur Miller
Yes, we’re back. Do we have to make excuses for our absence? We think not – after all, you’re reading this blog and hopefully hooked like a fish on bait or a side of meat hung in an abattoir. ;) Nor, unlike some others, will our narration misdirect you. This is a wonderful production of Arthur Miller’s 1950s’ fable, A View From The Bridge, with not a dud coin amongst the performances.
At the same time, TLT and her well-oiled and speedy-wheeled chariot have to admit, although they would always race to a Miller play, they have always found his writing a little – well - schematic. Yet in their humble opinion, the rendering of director Ivo van Hove, along with Jan Versweyveld's design and lighting, of A View From The Bridge turns this into a strength.
At the height of an economic crisis, the arrival of a wife's cousins as illegal immigrants from the old country disturbs the tenuous status quo of the Italian-Brooklyn Carbone family: Eddie (Mark Strong), good natured patriarch eventually descending into despairing self-defeating revenge, Beatrice (Nicola Walker), torn between her family and her isolated husband, and Eddie’s young niece Catherine (Phoebe Fox), chafing at the bit to experience life.
A simple stretched length-wise stage – without props, bare-bones black and white with long box benches rising on every side can change within a few words into a dockyard pier, a Brooklyn home, an attorney’s office, a boxing ring or maybe even a court house foyer, a political cell, an international conference room - or a man trap.
Cousin Marco (Emun Elliott) sets out methodically to earn precious dollars to send back to his own wife and children in Italy but, to the horror of her Uncle Eddie, Catherine is charmed by ambitious Rodolpho (Luke Norris) with his matinee-idol looks.
Yet there is an explicit indication this play means more than the one man’s tragic (alleged) incestuous, jealous obsession. The two Italians speak perfect American from the start, although TLT and her motorised compatriot willingly took part in the audience's suspension of disbelief, while glimpsing the possibility of parallel stories.
Alongside a masterly use of sound (Tom Gibbons), lighting and choreography, the staging reminded TLT of a previous Young Vic production – the circular heartbeat simplicity of The Brothers Size. And like Richard Eyre’s recent absorbing Ghosts, this production gathers momentum by eschewing an interval (back to its one-act verse roots) and the two hours fly past.
The twists and turns of this piece’s tragic trajectory and insistent lawyer-narrator demand attention and open up the possibility of an audience analysing the action and words for itself rather than accepting the say-so about any character from others.
Naturally the pacing is superb with seemingly sympathetic but seedy lawyer Alfieri (Michael Gould) and the increasingly tortured and trapped longshoreman Eddie Carbone juggling the action until all hell breaks out and events spiral out of their control.
A minor quibble alone - for us, using coloured lighting in the denouement might have made a more visceral impact than a final prolonged clinch in an actual liquid tide, although (we think) we can understand the reasoning for this.
Anyway this may seem rather churlish as, for us too, the tragic human consequences acted on an anosmic (look it up! :) ) set of otherwise almost digital cleanliness gives the play recognizable currency in our globalized electronic age of video games and drones. A great ensemble effort to which TLT and her rootin’, tootin’ buggy give an unadulterated green light!