Joe Dowling returns to Dublin from Minneapolis to direct another of Arthur Miller’s signature tragedies, following his acclaimed 2003 Abbey version of All My Sons.
Our tragic hero Eddie Carbone (Scott Aiello) works on the docks in 1950s Brooklyn; still an Italian stronghold as our narrator, and local lawyer, Alfieri (Bosco Hogan) informs us. But more important it’s still a Sicilian stronghold, and, as Alfieri warns us, the descendants of the Greeks at Syracuse are about to enact another tragedy. Eddie’s long-suffering wife Beatrice (Niamh McCann) raises Eddie’s niece Catherine (Lauren Coe) almost as her own daughter, but everything is about to change for the Carbones as she prepares to shelter her cousins Marco (Peter Coonan) and Rodolpho (Joey Phillips), fresh off a boat from Sicily and very illegal in their immigration status. But Eddie is aggrieved when Rodolpho takes a liking to Catherine, and so picks fault with Rodolpho’s extroversion that Marco has to protectively step in. But Eddie’s true motivation is even darker…
Set designer Beowulf Boritt places dockyard gantries funnelling the audience’s gaze in an odd trick of perspective towards a huge backdrop of the Brooklyn Bridge. These gantries then close in to create, with the addition of a dropped-down light-shade, the Carbones’ apartment. Dowling dispenses with the elaborately shifting sets of his 2011 version of The Field, instead seamlessly changing location for scenes via Malcolm Rippeth’s expressive lighting design. He also makes notable use of Denis Clohessy’s sound design to inject a literal note of menace at the curtain when Marco effortlessly lifts a chair by one leg to issue an unspoken threat to Eddie to leave Rodolpho alone. Coonan’s physicality is brilliantly used to make Marco a man of few words, gentle, unless you cross him, and then implacably set on hurting enemies in the approved pre-Socratic Greek moral code.
Aiello is fantastic as a decent man destroying himself, at times even echoing The Crucible’s John Proctor’s concern for his good name. Aiello keeps audience sympathy as Eddie’s mind unravels because of an incestuous desire he can’t even acknowledge to himself without tearing up (though he does this maybe once too often). His attempt to convince Alfieri (a very empathetic Hogan) that Rodolpho’s ‘not right’ is played for laughs as Alfieri simply does not get what Eddie is trying to nudge, nudge about. Rodolpho is clearly not ‘not right’, but Eddie does seem to have half a point, in that Rodolpho decided (rather too quickly) to marry literally the first eligible American citizen he set eyes on. But then Alfieri’s warning that God can give someone an excessive amount of love is evidenced in a shocking scene of aggressive sexuality.
Freud notwithstanding human incest in Greek tragedies was unwitting. Miller deliberately shocks with the intentionality here, even as the vice inexorably closes for Eddie in this riveting, disturbing production.
A View from the Bridge continues its run at the Gate Theatre until the 24th of October.