Through Sun 9/15
The post-World War II era centered on the changes of, among other factors, the application of psychological principles to examine the happenings of the day. Arthur Miller, William Inge and Tennessee Williams are considered to be the leading playwrights of that style, the modern American era of theater.
Miller, the author of A View From the Bridge, now in production at Cain Park’s Alma Theatre, is noted for asking in his scripts, “Is this the best way to live?”
In the case of A View From the Bridge, Miller’s dramatic tale examines such matters as difficult relationships, family honor, fear of loss, personal pride, forbidden love, assimilation and how justice and the law often collide. In the end, Miller seems to conclude that Eddie, the story’s protagonist, meets his end, being killed by his own knife, as a metaphor for his self-inflicted personal moral and ethical fall.
In examining the play, the writer’s own life may be the real topic. “Miller was called to testify in front of the House Un-American Activities Committee to name names of Communist sympathizers in 1956, the height of the McCarthy Era. Miller refused to do so and was heralded by the arts community for his strength of conviction and loyalty.” Miller, like Eddie Carbone, was faced with the problem of choosing how to live his life and affirm or reject his value system.
“Unlike Eddie Carbone, Miller chose to be loyal to his fellow artists, but like Carbone, Miller went against the cultural consensus at the time. Miller, in the play, chose to script a community that accepted and protected unlawful people. The consequences and eventual repercussions of naming names, for Eddie Carbone, are drastic.”
Miller used this play to strongly condemn the McCarthy trials and those who named the names of fellow artists. This is not the only play in which Miller takes on the ethics of McCarthy and his committee. In The Crucible, which is currently being staged at Cleveland’s Blank Canvas Theater, the topic of witch-hunting takes center stage, and much like A View From the Bridge, Miller points the accusing finger at the perpetuator of “evil” and comes to the conclusion that the action of the witch hunters and McCarthy was and is not the best way to live.
The story in A View From the Bridge is narrated by Alfieri, who was raised in Italy, but is now working as an American lawyer. Acting as our guide and commentator, much like a Greek chorus, he represents the “bridge” between the Italian and cultures of that era. The plot centers around the Carbone family — Eddie, his wife Beatrice and their niece Catherine. The family is awaiting the arrival from Sicily of Beatrice’s cousins Marco and Rodolpho, who have entered the country illegally. The cousins arrive. Catherine and Rodolpho are attracted to each other, which annoys Eddie, who has feelings for Catherine.
Jealous Eddie finds more and more things to dislike about Rodolpho as the young couple grow closer. When the duo decides to get married, Eddie reports the cousins as illegal immigrants. This makes his family and all the neighbors hate Eddie. Marco and Eddie fight. Marco uses Eddie’s knife to stab him. Eddie dies.
The Cain Park production, under the wise guidance of director Celeste Cosentino, is compelling. It is well-staged, the concepts clear, and the acting generally top-notch. Dan Zalevsky gives full life to the role of Eddie. Eddie lives through Zalevsky’s clear character development and concentration on being, not acting. Ursula Cataan creates a Beatrice who is both sensitive and aware of her limitations and her role as “wife” to Eddie.
Arianna Starkman matures as a character as Catherine faces the reality of becoming a woman, rather than a girl. Abraham McNeil Adams well-portrays Alfieri, our guide and commentator. Santino Montanez sizzles in the final scenes, as his role as family member and provider is spotlighted.
Be aware that the tented Alma Theater has no hard walls. The ambient sounds of street noise, wailing ambulances and revved-up motorcycles, the size of the stage which hinders actor projection to all parts of the small auditorium, plus the necessary Italian accents, all blend to wipe out some speeches.
Capsule judgment: A View From the Bridge is a powerful and meaningful play that gets a fine production. This is a must-see for any serious theater aficionado.
A View From the Bridge runs through September 15. For tickets call 216-371-3000 or go online to cainpark.com.
One Response to “THEATER REVIEW: “A View from the Bridge” @ Cain Park by Roy Berko”
Edward Mycue
I liked reading about the theater history of the plays of this period in the mention of Miller, Inge, Williams reconnecting me to my early years (and my parents) of play going. Interesting also to read the description of this tent production with street sounds and ambience bleeding in with noises and accents in this case. Made me feel I was almost there (all the way so many miles west and south to San Francisco California.