By Gray Thomas
A View from the Bridge at The Grand Theatre, located inside the Salt Lake Community College South City Campus in Salt Lake City, proves how Arthur Miller was a master of narrative and dialogue, able to tap into core of American psyche that was as relevant when it premiered (1955) as it is today. All of the elements of this production fall into place under the direction of Mark Fossen, creating a conscientious production that compliments the story.
The play begins reminiscent of a classical Greek tragedy, with the prologue presented by an Italian lawyer, Alfieri (David Hanson). Alfieri sets the scene, speaking about the history of the area in which the play takes place, Red Hook, a neighborhood in New York City. At the time, Red Hook was home to a large population of Italian immigrants. Alfieri is one of the many “bridges” in the play, speaking with an Italian accent and serving the Italian community, though striving to be American. Eddie (Jason Tatom) is the protagonist, a protective uncle of Catherine (McKenzie Steele Foster) who is approaching her birthday. Eddie is married to Beatrice (Teresa Sanderson), though the passion from the marriage seems to have drained away. The family agrees to take in and harbor two illegal Italian immigrants who are fleeing the poverty of Italy for work in America. One of these immigrants, Rodolpho, (Rusty Bringhurst) becomes infatuated with Catherine and they begin a courtship. Eddie is expresses a suspicion in Rodolpho’s intentions, and it is from this suspicion that the story unravels.
Miller’s writing is not as flashy or upfront as various contemporary plays, but the narrative and the pacing endures. The actors expertly navigate the pacing, speaking with convincing Brooklyn and Italian accents (coached by Stacey Jensen). The rhythm of the dialogue is effective in creating a rich depth and complexity. The difference between the pacing of the first act and the second act are night and day. The dialogue drives the story with a lot of intention, carefully establishing various overlapping themes that culminate in the tumultuous second act. If you aren’t careful, you might miss some of the smaller details that accentuate the story, such as Catherine lighting Eddie’s cigarette, or when the dockworkers are gambling, or the way Eddie’s wife, Beatrice, disdains yet loves Eddie.
Choosing a standout performance is difficult, as all of the principle actors were incredibly convincing. Tatom’s Eddie is so likeable in the beginning of the play that it is difficult to witness the unraveling that takes place throughout the play. Foster plays Catherine adeptly, moving from moments of joy and exuberance to sorrow and heartbreak by the end of the play. Bringhurst’s Rodolpho is charming, humorous, and flamboyant. Sanderson’s Beatrice is also incredible, responding with great depth to Eddie and his actions toward her. This review wouldn’t be complete, though, without mentioning Aaron Adams’ portrayal of Marco. While a minor character, it is upon Marco that the consequences of the story play out. While innocent, he is desperately caught amidst the building animosity. Adams’ passion in the portrayal left me on the edge of my seat.
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I found myself incredibly engrossed in the ambiance of this production. Most noticeable was the set design by Halee Rasmussen. While the majority of the story takes place inside a tenement apartment, the set is littered with various accoutrements of the docks: crates piled to towering heights, wood shipment containers, the silhouettes of cranes, a bundle of coffee bags that looked like a dull brown star hovering over the entire scene. The boundary between the apartment and the shipyards was indiscernible; a commentary on how the blue-collar nature of their lives loomed over them at all times. This is especially true when, at various points in the play, the set closes in on the scene. The lighting by Spencer Brown accentuated this, literally casting hues of blue down over the set and creating sharp contrasts the mimic the gritty noir of the story. If the visuals aren’t enough, the sound design by Adam Day reminds us constantly that we are in Red Hook near the shipyards. Finally, the costumes designed by Shannon McCullock remain authentic and genuine to the period, showing the blue-collar nature of Eddie in his blue jeans versus the fashionable ambition of Rodolpho and Marco and adopted by Catherine.
A View from the Bridge was, for me, one of the fortunate moments where the theatre fell away for a few hours as I became enthralled with what was occurring in front of me. There were moments of comedy, disbelief, and tragedy, creating an energetic roller-coaster. As the play concluded and the lights came up, I found it difficult to believe that this play premiered in the 50s in London’s West End and not today in Salt Lake City. There are many elements of the play that still resonate today: tensions surrounding illegal immigration, ideas and constructs of manhood, sexual harassment, poverty. The manner in which The Grand Theatre in Salt Lake City was able to bring A View from the Bridge further illustrates how important these issues are. If you are seeking masterful narrative and dialogue complimented by great acting, directing, and design, then this is your play.
The Grand Theatre presents A View from the Bridge by Arthur Miller
The Grand Theatre, 1575 S State St., Salt Lake City, UT 84115
Tickets: $9-$23
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