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He kneels, grasps; and with strain slowly raises the chair higher and higher, getting to his feet now. RODOLPHO and CATHERINE have stopped dancing as MARCO raises the chair over his head.
MARCO is face to face with EDDIE, a strained tension gripping his eyes and jaw, his neck stiff, the chair raised like a weapon over EDDIE’s head – and he transforms what might appear like a glare of warning to a smile of triumph, and EDDIE’s grin vanishes as he absorbs his look.

A view from the Bridge

A View from the Bridge has a very interesting production history.  Miller based the play on the real-life story of a longshoreman who reported the refugees he was sheltering in his own home to the immigration authority when one of them proposed to his niece.

Miller had also spent time around the Mediterranean and wanted to create an American epic drama, avoiding conventions of realist theatre. The first draft of the play was written in verse, but was revised to prose on the advice of Peter Brook.  Surviving elements of Miller’s original epic structure can be seen in the use of the lawyer Alfieri as a semi-omniscient narrator.

I would love to get my hands on the original verse version.  I’ve only seen Bolcom’s opera adaptation before, and his musical production preserves the tone of the play very well.  But it would be great to compare the Bolcom’s libretto to the first version of the play.

The play in its current form was performed for the first time in London on the 11th of October 1956, at a Comedy theatre masquerading as a nightclub.  Due to the kiss between Eddie and Rodolpho in the second act public performance of the play in England had been banned.

This was a very good production.  I particularly enjoyed seeing Hayley Atwell play Catherine after seeing her in last year’s Brideshead Revisited film and the BBC’s ‘modern costume’ adaptation of Alan Hollinghurst’s The Line of Beauty.

A View from the Bridge is playing at Duke of York’s Theatre until the 16th of May.

A View from the Bridge
Arthur Miller.

Duke of York’s Theatre, London.
27/02/09

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Snow people became more sophisticated.  Snovolution?

A bit of a catch-up for January and February is on the way. I’ve seen Arthur Miller’s The Man Who Had All the Luck (a competent production but not the most exciting play) at the Lyceum here in Edinburgh but exciting plans to see plays in London at the end of January were put on hold by the great blizzard of ’09.

It was still a bit snowy.

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