What the critics say: Arthur Miller's tragedy in extreme close-up. You can’t look away.
By: Elissa Blake
Date: 22 Oct 2017
Director Iain Sinclair’s intimate staging of Arthur Miller’s blue-collar tragedy will go down as one of the best theatre experiences of 2017.
“A stunning, shattering production,” wrote Jo Litson in a post-show Tweet. “One of the best things I’ve seen all year.” Her review for the Daily Telegraph was a 5-star.
Also on Twitter, The Australian’s theatre and dance critic Deborah Jones proclaimed the production “a knockout”.
Kevin Jackson describes Ivan Donato’s performance as Eddie Carbone as “simply magnificent, courageously insightful and raw in his portrayal, shattering.”
Writing for the Sydney Morning Herald, Audrey editor Jason Blake was similarly impressed. “[Donato’s] brooding casts a pall over the room. He puts everyone – audience included – on eggshells and at point-blank range his rage is unsettlingly real. ‘His eyes were like tunnels,’ recalls Alfieri [the play’s lawyer-chorus] of a meeting with Eddie and sure enough, Donato’s are just that, boreholes into a man’s deranged mind.”
Designed by Jonathan Hindmarsh, the staging is minimal, condensed to “a bare wooden floor and a couple of chairs,” continues Jason in his write-up. “The town and culture of Red Hook, ‘the gullet of New York swallowing the tonnage of the world’, is embodied rather than illustrated.”
The Australian’s John McCallum (from behind the News Ltd paywall) praises the entire cast: “Janine Watson’s Beatrice is beautifully drawn: a patient, devoted wife who eventually has to come to terms with what her husband is becoming. The developing relationship between the young lovers also is superbly performed. Newcomer Zoe Terakes’s Catherine has a sweet innocence but we sense her growing mature strength. Lincoln Younes plays Rodolpho’s boundless appetite for life, in the new country that he hopes will accept him, with great charm and flair but also reveals the ambition of the new immigrant.”
We’ll leave the last word to Cassie Tongue. Writing for Time Out, she found the production “rough and violent and bluntly moralistic” and “gut-wrenching. 1950s Brooklyn feels close enough to touch, and not so far from here.”
A View from the Bridge plays at Glen Street Theatre, Belrose, January 30 – February 4, 2018