A View from The Bridge

THE BASICS:  This lesser known Arthur Miller drama from 1956 has been mounted by the Subversive Theatre Collective as a part of their Workers’ Power Play Series.  It continues through May 2^nd at the Manny Fried Playhouse on Great Arrow.  Kurt Schneiderman, the company’s founder and A.D., directs a cast of twelve.  The play runs close to 2 ½ hours with its single intermission.

THUMBNAIL SKETCH:  The action takes place in a poor Italian American community near the Brooklyn bridge.   Like most of the men here, protagonist Eddie Carbone is a longshoreman.  He’s worked hard over the years to provide for his wife Beatrice, and for her orphaned niece Catherine, whom the two have lovingly raised.  The trouble begins with the arrival of two of Beatrice’s cousins, who have been smuggled in from Sicily.  One of these young men, Rudolpho, is an artistic, exuberant fellow who takes a fancy to the now-nearly-grown-up Catherine.  Eddie’s protectiveness/jealousy is stirred to the boiling point, resulting in betrayal, disgrace, tragedy.

THE PLAY, THE PLAYERS AND THE PRODUCTION:  A VIEW FROM THE BRIDGE began life as a one-act verse play, but was revised and expanded when the latter proved to be a flop.  Written during the McCarthy era, it layers on sociopolitical content (HUAC, squealing, the nobility of the working man), but it is, at heart, a domestic drama—the story of a man who is intensely and unknowingly in love with his niece.  In its core psychodynamics, the show bears a tremendous similarity to COME BACK LITTLE SHEBA by William Inge, which debuted six years earlier.   It looks to me like Miller owed Inge a great–and unacknowledged–debt.   The point is moot;  A VIEW FROM THE BRIDGE stands nicely on its own.  It has a gutsy, primal quality, and proceeds with a proper sense of inevitability to its wrenching close.  That said, the long first act is quite redundant; a little judicious editing from director Schneiderman would have served this production well.

Thomas LaChiusa’s Eddie Carbone is a tour-de-force.  He is just right for this meaty, turbulent role, and breathes real life into it.  Andre Gollhardt is nearly as impressive as the sweet, anguished Catherine.  This is a subtle performance of  great power. We really feel for this poor girl!  Veteran Lisa Vitrano is solid as Beatrice, but a little too controlled, exterior.  We simply cannot relate to her on the same gut level as we can with the other two.  The weakest link here is James Heffron, who struggles with a broad, almost comical Italian accent.  Jeffrey Coyle does better as Marco, Rudolfo’s married older brother.  By playing down the accent, Coyle enables us to concentrate on the sense of the lines.  The surprise of the night, for me, was Jack Agugliaro as Alfieri, the lawyer/narrator.  Agugliaro gives an ultra-smooth, well-paced performance that manages to be both “real” and theatrical.  No small feat.  I’ll be on the lookout for future work!

With the exception of an added Statue of Liberty mini-video (oy!), Schneiderman’s directing passes muster.  The time period seems to be 40’s rather than 50’s, but this is no big deal. Greg Natale’s set has some nifty bridgework in it, and there is some classy dramatic lighting from Michael Lodick.

IN SUM:  A VIEW FROM THE BRIDGE is a powerful, moving and still very relevant piece of theate.  The current revival by the Subversive Theater Cooperative is an unusually strong production, well worthy of your time!

 

 

*HERD OF BUFFALO (Notes on the Rating System)

ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.

TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.

THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.

FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.

FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!