Arthur Miller's "View from the Bridge" is the only contemporary working-class drama of his major plays ("All My Sons" and "Death of A Salesman" are both closer to middle-class, "Crucible" isn't contemporary), and acts partially as a rebut to Elia Kazan and Budd Schulberg's "On the Waterfront" - set in the same location, it argues that sometimes the legal system needs to be defied when it comes to things like immigration law in the face of genuine human need. It also presents a gripping home drama as the relationships within a Brooklyn home are stretched as two visitors expose fautlines.
In Chris Baldock's production, this is a story both about a family and a community and how the two interract. In the first act, the continuous prescence of a greek chorus of neighbourhood people seems almost intrusive on the domestic scenes inside the hosehold of Eddie Carbone. But it pays off greatly in the second act as Eddie's private transgressions face public consequences, as his community turns against him and as he seeks desperately to find his way back to reclaim his place in it. There's a cumulative power that pays off wonderfully by the end of this tense, tight piece.
Central, of course, to the tragedy is the Eddie Carbone. Knox Peden's making not only his Rep but also his Australian debut with this production, and it's a knockout performance, pugnacious, combative but with a longing soul at the middle of it that can't help but draw compassion even as it becomes increasingly obvious how wrong he's going. Karen Vickery is a 3 year Canberra veteran now (with, of course, a whole lot more behind her), and brings every inch of that skill to Beatrice, Eddie's wife and confidante, supportive but completely willing to call her husband on his bullshit when she knows he's wrong, powerless to stop him failing. Karina Hudson also makes her Canberra debut as the bubbly young Catherine, who is required to do a lot of growing up in a brief period of time as she finds love, meets betrayal and finds her confidence to stand up to Eddie. As the charming-but-possibly-mercenary Rudolpho, Alexander Clubb keeps you guessing as to his true motives - there's a surface charm and a sweet voice, but also that little bit of withholding that keeps things uncertain. Chris Zuber has a strong solid integrity that grows into brutal menace when he is betrayed.. David Bennett narrates in the one role I'm not entirely sure is utterly necessary - I've not seen a production where Alfieri's monologues feel integral to the play rather than imposed to underline themes that don't need underlining, and this isn't the one that changes my mind, but he's solid enough. Cameron Thomas and Benjamin Russell double both as Eddie's casual buddies and two menacing Immigration Officers, and present strong distinguishable characters in brief stagetime.
Baldock's set, realised by a team of 17 dedicated buillders, is impressive both in how it fills the stage (across the wide Rep stage but also through strong verticals) and how it allows tight focus on the small family drama while letting the bigger community elements come through. Helen Drum's costumes give a gritty period authenticity, Chris Ellyard's lighting design impresses both in giving focus to the different areas and to building the hellish intensity as the play winds to its inevitable conclusion. Jon Pearson's sound design gives a strong sense of place and mood.
This is intense, raw drama presented in top-notch condition. This is theatre that will draw you in and get the heart pumping. Go see it.
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