Arthur Miller’s landmark play has gripped audiences for nearly 65 years, but couldn’t be more timely in today’s political environment. The McCarthy-era drama, set in Puritan Salem, paints a portrait of a paranoid, litigious society — power-hungry and gripped by misguided moralism.
The story focuses upon a young farmer, his wife, and a young servant-girl who maliciously causes the wife’s arrest for witchcraft. The farmer brings the girl to court to admit the lie—and it is here that the monstrous course of bigotry and deceit is terrifyingly depicted. The farmer, instead of saving his wife, finds himself also accused of witchcraft and ultimately condemned with a host of others.
Leave it to Arthur Miller to tackle the kind of deep topics that would’ve been impossible to discuss openly in the repressive 1950s. First performed with another one-act play in 1955 on Broadway that closed after only a few months, Miller’s A View from the Bridge was revised and expanded to two acts, eventually finding success in productions staged in England as well as in the form of several Broadway revivals; now this important piece about immigration and the perils of too much love is being presented by Gallery Players with a talented cast in a production that is largely successful.
A View from the Bridge takes place in the 1950s within the Brooklyn apartment of the Carbones, an Italian family made up of Eddie, a longshoreman; his wife, Beatrice; and their orphaned niece, Catherine, a teenager. Eddie has specific ideas about the kind of life he wants for his niece, his affection for her causing alienation between him and his wife. The situation only grows more complicated when cousins of his wife, the brothers Marco and Rodolpho, arrive to stay with them as illegal immigrants. As Rodolpho and Catherine’s friendship grows, Eddie’s concern for his niece’s well-being only grows, generating a series of outbursts that affect not only the lives of those in his household but the whole community.
Standouts in the cast are Richard Napoli as the hard-working but troubled Eddie; Mike Writtenberry as Rodolpho, the immigrant from Italy; Brian A. Palmer as Marco, Rodolpho’s imposing brother; Eliya Smith as Catherine, the innocent teen; and, last but not least, Sonda Staley as Beatrice, Eddie’s ignored wife. Mr. Napoli, sounding a bit like Stallone in Rocky, is excellent at making his point known using the script as written with its veiled allusions to homosexuality; this type of writing demands someone with the proper swagger and demeanor to pull it off with a modern audience used to far more explicit and direct works, and Mr. Napoli fits that bill. Mr. Writtenberry holds firm to his accent and expressive mannerisms as Rodolpho, perfectly demonstrating the kind of behavior that riles Eddie; their “boxing match” (choreographed by Ryan Metzger) is intense and squirm-inducing. Mr. Palmer doesn’t have a lot to say as Marco, but that’s because there is no need; his imposing stature and use of silence and a stare says more than enough. Ms. Smith as first seems too naive to be a girl on the cusp of adulthood, but that is precisely the point; her youthful energy grows into a woman’s resolve through this performance, even though her slip is still showing along her hemline throughout. Ms. Staley has a matter-of-factness as Beatrice that makes her performance all the more touching in the scene with Ms. Smith where she gently lets her know that it is time for her to grow up; when she asks her husband, “When am I gonna be your wife again?” one can feel her loneliness. Ms. Staley can only be faulted for her lackluster sweeping skills, an ability that surely would be second nature to a housewife of this era.
Director Nancy Williams guides this production with a firm understanding of the material and at a pace that ensures no moment out stays its welcome. Ms. Williams missteps with her choice of underscoring music for two pivotal scenes in the second act; the music during the raid sounds like a scene out of The Maltese Falcon, and the violent attack at the end sounds like the rumble in West Side Story. The rest of the music in this production is well-placed and appropriate, so why have these two scenes play out with such obvious cues that dissolve the tension in their respective scenes? It’s almost as if the director doesn’t trust her talented cast to carry these moments on their own. Another unfortunate decision is casting Nick Baldasare as Alfieri, the lawyer and narrator of the story. Mr. Baldasare cuts a handsome frame, but his vocal modulation and speed make quite a bit of what he says unintelligible even though he is quite loud.
A View from the Bridge is absorbing theatre, and even with some notable flaws this production is worthwhile. There is a kind of palpable charm that comes through in the material and time period that is inviting and even a bit dangerous. This is the kind of play that can speak to empty nesters as well as anyone who has ties to family that can prove to be harmful if not properly nurtured and checked.