Talking Movies

September 18, 2015

A View from the Bridge

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.

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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.

4/5

A View from the Bridge continues its run at the Gate Theatre until the 24th of October.

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July 27, 2012

The House

Tom Murphy’s 2000 Abbey commissioned play about the frustrations of returned emigrants in the 1950s returned to the Abbey as its absorbing final show before shutting down for asbestos-removing renovation.

Murphy’s play echoes Chekhov on several levels. There is a decaying gentry family headed by Mrs DeBurca (Eleanor Methven), which is about to be usurped by the man who once laboured for them, Christy (Declan Conlon). Struggling to come to terms with their slide down the social ladder are her three daughters of contrasting personalities; the sensible Marie (Cathy Belton), the slatternly Louise (Niamh McCann), and the sinuous emigrant Susanne (Catherine Walker). And the action plays out in a series of fixed locations into which people flow and eddy; in one bar scene there are no fewer than 13 people on stage as a chaotic drunken speech and fight plays out. This might be a hauntingly tragic tale of a man who gets everything he ever wanted at the cost of destroying the very reason he ever wanted them, but that Murphy’s characters are more complex than they initially appear…

Christy appears to be a charming, salt of the earth type but he brutally sets upon his friend Jimmy (Aonghus Og McAnally) in the local bar for a perceived slight the audience will struggle to remember in their shock at this sudden eruption of violence. Marie’s initial snobbishness towards Christy may have been her nervousness at revealing her love for him, but then her later affection may be mere desperation to retain her social standing. Similarly Susanne’s initial flamboyance gets progressively more over the top as Walker heavies the affected English accent to convey Susanne’s growing panic that she belongs nowhere – failed in London, no longer respected in Ireland. Into this ambiguity of character motivation Murphy injects ambiguity of nationality in Christy’s fellow returned emigrants Goldfish (Karl Shiels) and Peter (Frank Laverty). Peter’s accent continually wanders towards England, while Goldfish’s life in New Jersey has corrupted not just his accent but his thoughts; a grab-bag of Western and gangster movie sentiments. ‘Home’ for the summer, they’re really at home nowhere.

This is a society that is eager to hoover up money from these emigrants, but even more eager that they leave again when they run out of cash. Paul O’Mahony’s set impressively furnishes the claustrophobic pub run by Bunty (Darragh Kelly), the house of sardonic lawyer Kerrigan (Lorcan Cranitch), and the patio and dining room of the Big House. (I unfortunately saw the second last performance which saw an enforced interval after the first scene as the revolving stage revolveth not.) Kelly and Cranitch are both hilarious as they embody the hypocrisy of hail fellow well met attitudes to emigrants whose unfocused energy discomforts them. Bosco Hogan, in a surprisingly small role as local Garda Tarpey, adds steel to their refusal to fix a society so broken that it exports its youth. Murphy’s play is always gripping, and often very funny, but it’s a good rather than a great piece of work, and the supposed post-property boom resonance is tangential to its dramatic success as a melancholic study with barbed commentary on societal failure.

Director Annabelle Comyn doesn’t quite reach the heights of last summer’s Abbey Pygmalion but she draws excellent performances from her cast in a quality show.

3/5

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