A View From a Bridge: EW theatre review
November 13, 2015 - accent chair
How stripped-down is Ivo outpost Hove’s new Broadway reconstruction of A View From a Bridge? The set, designed by his longtime partner Jan Versweyveld, is radically a 16×21-ft. box, not distinct a fighting ring. Props are roughly wholly dispensed with: There’s no food for stevedore Eddie (Mark Strong), mother Beatrice (Nicola Walker), and 17-year-old niece Catherine (Phoebe Fox) to eat; no coffee for them to offer to their just-arrived bootleg newcomer kin Marco (Michael Zegen) and Rodolfo (Russell Tovey); not even a blade for a climactic final scene. Van Hove has available a chair and a cigar, since a steer of Catherine lighting a cigar for Eddie is too deliciously nice to skip. It also confirms all a assembly has known, and has been fearing, from a start per Eddie’s incestuous feelings. Shoes seem remaining for these salt-of-the-earth Red Hook, Brooklyn, characters. Barefoot is most some-more their component — yet counsel Alfieri (Michael Gould), a alien examination this story “run a bloody course,” is available boots during a start. Marco and Rodolfo seem to have mislaid their accents on a prolonged vessel float from Italy. Other (mostly silent) characters — an immigration officer, Mr. and Mrs. Lipari, their relatives, neighbors — have been sensitively excised.
The Belgian executive is creation his Broadway debut, carrying helmed a uncover to 3 Oliviers in a London incarnation progressing this year. He happens to be one of New York’s hottest line this deteriorate (between View, a arriving David Bowie —Enda Walsh low-pitched Lazarus, and his open reconstruction of Miller’s The Crucible with Ben Whishaw and Sophie Okonedo), and has brought Miller’s 1955 story of unlawful passion, self-deluded pride, and patrimonial profanation closer to a Greek tragedy than any prolongation in new memory. (That includes a rarely praised 2010 reconstruction with Liev Schreiber and a Tony-winning Scarlett Johannson.) Van Hove has even put 158 seats on theatre — his unequivocally possess Greek chorus. It’s value remembering that Miller initial patrician a square An Italian Tragedy.
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But his View might not be to everyone’s liking: The dirge-like strain that underscores the whole production can grow uninteresting and infrequently heavy-handed. If you’re not certain when to unequivocally compensate attention, don’t worry: meaningful drumbeats will boost in rhythm, or chanting will grow louder. (On a and side, a ever-present credentials sound does silence mid-show cellphone ringing.) And personally, we missed Rodolfo’s Italian accent. Along with his blond hair, bent to mangle out in song, and lively with a needle and thread, it’s something that creates him mount out — something that creates him appealing to Catherine. And something that creates Eddie see him as “not right.”
As for Eddie, Strong is fiery-eyed and fiercely unsympathetic. He goes for a jugular, though not a heartstrings. Eddie is “not a male to yowl over,” wrote Miller, and View “does not try to engulf an assembly in tears.” So if we find yourself dry-eyed during a finish of outpost Hove’s high-concept, low-frills production, there’s no need to check your pulse. And if we find yourself relating to Eddie, there’s no need to panic; that means Strong (and Miller) succeeded. B+