A VIEW FROM THE BRIDGE

 

Nuri Ucuncu (Rodolpho), Rob Turner (Eddie), and Joanna Mitton (Catherine)

A VIEW FROM THE BRIDGE

By Arthur Miller

Directed by Jane Barth

Chester Theatre Company (ends 5^th March 2022)

Review by Brian Gorman

 

Arthur Miller is an undisputed giant of the theatre, with a stunning variety of stone-cold classics under his belt. Many taking place in 1950s America, and presenting the dissection and exposure of the brittle, and soul destroying ‘American Dream’. Any amateur theatre company needs to think long and hard when considering bringing one of his wonderful, and intense creations to the stage. Applaud the bravery, by all means, but it takes a lot of hard work, talent, and sheer arrogance to even attempt to present such material. Well, on this occasion, it has paid off. Handsomely.

The elegantly dangerous looking Richard Hulse opens the show, spotlighted and revealed as our guide and narrator. A device that initially seems simplistic, and possibly the result of a writer fearful that the audience may have problems following the narrative. However, Hulse is superb as the sharp-suited lawyer Alfieri. Confident, endearing, cocksure, striking many a Cagney-esque pose and commanding every scene he is in. There is also something of the Hollywood icon Jack Palance about Hulse; a face filled with what looks like brutal life experience, yet conveying great humanity and empathy. Accents are usually one massive pitfall for any actor (witness Russell Crowe’s woeful Robin Hood in the recent Ridley Scott epic), but Hulse, and his fellow thesps, playing an assortment of Italian-New Yorkers have nailed it.

Richard Hulse (Alfieri)

Full marks to John McGinn’s excellent naturalistic set, and the wonderful window effect, looking out upon the bay; the subtle lighting changes by Ollie Clark creating a perfect atmospheric segue way betwixt dawn and dusk. A mythic romantic otherworld; the dream beyond the characters’ reach perhaps? The simple family home is perfectly realised, although I would have placed our main protagonist Eddie’s armchair a little more face-on to the audience, so we could see his interior life, conflicting emotions, and simmering bewilderment. Miller’s story focusses on salt-of-the-earth dock worker Eddie Carbone, and how his disturbing affection for his adopted niece Catherine, ultimately secures his self-inflicted downfall when she finds love with a charismatic illegal immigrant, and decides to fly the nest. Rob Turner as Eddie made for a curious casting choice, however. I wasn’t convinced that we were seeing the character as Miller intended, despite Turner being an obviously capable and effective actor. If he and Hulse had swapped roles, we would have had a much more dynamic mix. Eddie is loud and vociferous about the automatic respect he should be given for putting ‘food in mouths’, and sheltering his cousins, but he comes across as a pain, and an immature, whinging man-child with a creepy sexual crush on his teen-age niece. I honestly had little sympathy for him, and found it pretty difficult to accept Alfieri’s final words when he admits his respect for the man.

Fiona Wheatcroft is an immaculate presence, as Eddie’s long-suffering, sexually frustrated wife Beatrice. Completely believable in her thick-skinned, saintly perseverance, and her desperate attempts to get through Eddie’s thick, bigoted head. Honestly, what did she see in this guy? Joanna Mitton gives a sweet-natured, sparkling, and nuanced performance as Catherine, and is perfectly convincing in her evolution from devoted niece to the strong-willed young woman in love with her cousin Rodolpho (played by newcomer Nuri Ucuncu). The swaggering, blonde haired Ucuncu is an amazing stage presence, and stole every scene he was in. I was astounded to discover that this was his acting debut, as he displayed sheer star quality, and stage professionalism; director Jane Barth certainly coaxed an exceptional performance from such raw material. Haluk Saglam as his brother Marco, matched him perfectly in explosive passion, and believable emotion. Marco’s anger when Eddie betrays the brothers is perfectly realised, and his internal conflict beautifully expressed. Unfortunately, I couldn’t see much of what happened in the violent finale, due to the scene being played out on the floor in front of the stage. However, we didn’t really need to see much, as the dialogue and performances communicated more than enough.

Joanna Mitton (Catherine) and Fiona Wheatcroft (Beatrice)

This was a superb production that thrilled, surprised, and delighted its audience. Virtually flawless. Jane Barth’s direction is spot on, avoiding any temptation to try anything too radical, and allowing the action to flow naturally. Wonderful, passionate, and intelligent entertainment!