The Northern Newsletter

Recently, a showing of Arthur Millers critically underrated play ‘A View from the Bridge’ was perfectly performed by the community theatre for amateur performers, Players Theatre. However, ‘amateur’ is exceedingly inaccurate as this rendition provides justice and the enjoyable inclusion of entertainment but still infusing the audience with an unforgettable experience. 

On the 16th of March, I had the pleasure of viewing the final performance of the bewildering orchestration of love, law and honour with the mentally complicated inclusion of sympathy. I include this significant emotion since it allows the audience to ponder if we should really feel this emotion towards our protagonist who is morally invalid due to his patriarchal grasp upon his nieces life and his desire for authority over her. Which was precisely portrayed, projecting the necessary gasps and reactions from the audience. However, It would be unjustified of me to not begin from the exposition.

Upon entering the theatre, I was greeted by two spotlights casting their interrogating shafts of light upon two key objects whose priority over the sequence of play spurt the hierarchy sentencing Eddies eventual fate. This was an efficient inclusion as the hook and telephone certainly set the plays tone and atmosphere. The set itself was monumental as the background featured a painting done by Sophie Hall picturing the Brooklyn Bridge. Emulating our view into this family.

Silence. Silence dictates the atmosphere as the audience grows in trepidation and adrenaline. Suddenly, like a dagger disrupting the natural order a tailored and fashionable Lawyer, Mr Alfieri played by John Wild. Entering the scene his bold presence contradicts the shallow presence of a pair of Brooklynites, Mike and Louis played by Dominic Keefe and Rob Derry, tossing coins. Like a judges gavel sentencing the fate of a criminal, Mr Alfieri delivers the impactful monologue catalysing the memories of the fatal journey of the Carbone family. Much to my delight, the entirety of the cast were proudly dressed in typical 1950’s clothes, one of the most significant fears I was shrouded within but happily suppressed. In addition to this effective choice, I was even more in awe as specific characters attire begun to transform from their previous state. Most notably, this was eminent with Beatrice, played by Cate Berry, Eddie’s wife, who’s dress after Act One had developed into a diluted shadow of her previous blue dress. Symbolising how her expression and emotiveness had been eviscerated by the domestic conflict and eventually being utilised as a mourning dress for Eddie’s demise. Continuing on focusing on the actors, they all were astonishingly effective in conveying each of their characters, especially Eddie and the two Italian immigrants Marco and Rodolpho. Sculpted and with a frame so daunting that he loomed over the rest of the cast, Marco played by Bruce Taylor was the perfect actor for this compassionless yet protective brother to Rodolpho. A complete contrast of his brother, a scrawny, feminine and smallish figure, Rodolpho with his hilarious stereotypical Italian accent was played by Chris De Mercado. A phenomenal construct of Eddie’s prey. Regarding Eddie, who definitely captivated the audience solely because of Dan Pothecary’s performance, who was able to create a harmonious symphony between caring for Catherine and Eddie’s façade. The liminal space between his father like love and then his relationship love for Catherine was perfectly represented by Bothe Eddie and Catherine, who was played by Sarah Morgen. The entire performance was also aided by the dramatic tension built throughout the use of lighting and music, which either shifted power or established the inescapable fate regarding certain characters. Most notably this occurred around the main pivotal moments and the denouement of Act Two. The two specific pivotal moments that grasped my attention would be the infamous scene where Eddie’s power and dignity begins to be disintegrated by Marco’s strength and devoted loyalty to Rodolpho, who Eddie had just punched while teaching him boxing. This scene was executed to the highest of standards as it clear displays Marco’s fearless characteristics towards the consequences of sacrificing Eddie’s respect, just to ensure that Rodolpho is safe and protected. In addition to this scene, the inclusion of the influential  crescendo which had the effect of almost strengthening Marco’s fierce determination to establish his potential under his composed façade. The final pivotal moment that eventually flowed into the denouement of the play, was the climax depicting Eddie’s final dosage of sympathy being eviscerated from the audience- The Telephone.  Nervous and an unshakeable anxiety inducing his actions, a visibly uncomfortable Eddie is narrated by Mr Alfieri contrasting his frantic mannerisms with his collective persona. However, it could be argued that Mr Alfieri is also portrayed as usurping his position as a witness to instead help our tragic hero escape the labyrinth of immigration by directing Eddie to his only cowardice resort. Despite my already speechless attitude towards this professional theatrical performance, the denouement exceeded my expectations by not only incorporating the setting – the hook and wooden crate – but another appreciative inclusion in the form of a stage blood which in my opinion deserves a bouquet of glorification. This certainly heightened the discord, afflicting the exposition’s harmonious tone by strumming conflict and chaos ensuring there is a lack of a cyclical resolution. Silence. The stage retreats into silence. The cast retreats into silence. Only the gentle mourning from Beatrice and Catherine is audible and returning from the darkness walks Mr Alfieri to officially provide closure to this strenuous story. 

It is rare that I experience a play that secures itself on to my brain as potently as this performance, I am certain that this performance will proper and nurture my mind forever and I wish Players Theatre luck with future productions.