Skip to main content

A View From The Bridge Review

Royal Lyceum Theatre, Edinburgh
4 stars
The power of any Arthur Miller play comes, not from the surface
machismo that drives them, but from the human frailty that lies behind
it. So it is with his masterly study of the ultimate blue collar
betrayal through the actions of Brooklyn longshoreman Eddie Carbone,
whose inarticulate affections for his teenage niece Catherine bring
about his demise. There are few directors more sensitive to Miller’s
world than John Dove, who over the last seven years has been working
his way through the writer’s canon on the Lyceum stage with a striking
sense of low-key ritual that goes way beyond any natural actor’s
tendency for bombast.

The tone is set from the off here with Liam Brennan’s Alfieri, the
street-smart lawyer and narrator of the piece who provides the play’s
moral centre while at the same time keeping a cool distance from the
action. The key to the play is the line, “You can get back quicker a
million dollars you stole than a word you gave away,” and is here made
all the more telling by its matter of fact delivery as the world turns
on a slow revolve behind him. In this way, small lives become epic as
the inevitable tragedy is played out.

As Eddie, Stanley Townsend prowls the stage like a wounded bear,
neither able to express his jealousy of Catherine’s relationship with
fey illegal immigrant Rodolpho nor stop himself from informing on him
to the authorities. Kathryn Howden’s Beatrice is an equally
heartbreaking portrayal of the slighted matriarch, while Kirsty
Mackay’s Catherine moves from perky naiveté to premature wisdom with a
deftness that typifies this masterly production of a mighty work.

The Herald, January 17th 2011



Popular posts from this blog

The Art School Dance Goes On Forever – Snapshots Of Masters Of The Multiverse

Intro – Snapshots – Deaf School


In 1980, the same year as the Manchester band, Magazine, released a 7
inch single called A Song From Under The Floorboards – a three verse
and chorus distillation of Dostoyevsky's novel, Notes From Underground
– an art school scandal occurred.

This scandal took place in Liverpool, and was based around a project
called the Furbelows, although it became better known in the Liverpool
Echo and other organs that reported it as the Woolly Nudes.

The Furbelows, or Woolly Nudes, were a group of artists who had come
out of Liverpool College of Art, who, dressed in grotesque woolly
costumes which featured knitted approximations of male and female
genitalia, made assorted public interventions around the city centre as
kind of living sculptures acting out assorted narratives.

The Furbelows project had been funded by what was then Merseyside Arts
Association, and, after the participants were arrested and taken to
court on obscenity charges after what…

Peter Brook – The Prisoner

Peter Brook is no stranger to Scotland, ever since the guru of European and world theatre first brought his nine-hour epic, The Mahabharata, to Glasgow in 1988. That was at the city’s old transport museum, which by 1990 had become Tramway, the still-functioning permanent venue that opened up Glasgow and Scotland as a major channel for international theatre in a way that had previously only been on offer at Edinburgh International Festival.
Brook and his Paris-based Theatre des Bouffes du Nord company’s relationship with Tramway saw him bring his productions of La Tragedie de Carmen, La Tempete, Pellease et Mellisande, The Man Who…, and Oh Les Beaux Jours – the French version of Samuel Beckett’s Happy Days – to Glasgow.
Thirty years on from The Mahabharata, Brook comes to EIF with another piece of pan-global theatre as part of a residency by Theatre des Bouffes du Nord, which Brook has led since he decamped to Paris from London in the early 1970s. The current Edinburgh residency has alr…

Romeo And Juliet - Shakespeare's Globe Comes to Glasgow

Open-air Shakepeares are a summer-time perennial of the theatre calendar, attracting picnicking audiences as much as midges. More often than not, such romps through the grass are frothy, heritage industry affairs designed to be accompanied by strawberries and cream and not to be taken too seriously. Shakespeare’s Globe theatre company look set to change such perceptions when they open their outdoor tour of Romeo And Juliet in Glasgow next week as part of the West End festival.

For the two young actors taking the title roles of the doomed lovers, it will also be something of a homecoming. Richard Madden and Ellie Piercy both studied in Glasgow prior to turning professional. Indeed, Madden has yet to graduate from the acting course at RSAMD, and, as well as facing the pressures of playing such a meaty role in close proximity to the audience, will have the added anxiety of being assessed and graded by his tutors.

“This is the end of my third year,” says Madden following a Saturday mornin…