'View From the Bridge'

With Arthur Miller's A View From the Bridge, the Boston Summer Playhouse brings us their finest production to date. Originally presented on Broadway in 1955 as the major part of a double bill, this powerful story about the complex intrafamilial relationships in a Brooklyn waterfront household provides a jolting theatrical experience.

The major success of the evening is due to a dynamic and powerful performance by Robert J. Lurtsema as Eddie Carbonne, the Italian longshoreman. When Eddie allows two of his wife's immigrant cousins who have entered the country illegally to stay in his home until they get settled, the younger cousin, Rudolpho, falls in love with Eddie's niece, Catherine, whom he has raised with over-protective care. When Rudolpho, who enjoys singing, sewing, and cooking, as well as working on the piers, is accused by Eddie of being a homosexual seeking to marry only for his citizenship papers, the tensions, conflicts, and jealousies begin to mount until they work themselves to their fateful climax. Towards the end of the play, it is said of Eddie that he is pure--not purely good, but at a time when men must settle for half, he allows himself to be wholly known. It is to Mr. Lurtsema's credit that he has captured the nobility of Eddie as well as the fire and energy which give him some electrically truthful moments on this small arena stage.

Experimenting with the form of classical tragedy, Mr. Miller has introduced a pseudo-Greek chorus in the character of Alfieri, the neighborhood lawyer who comments on and occasionally participates in the action. This part is intelligently and movingly played by Dean Gitter, though one might wish he had chosen either to perfect or to ignore the Italian accent. His last soliloquoy was particularly effective, I felt.

Dana Bate is excellent as Marco, the older cousin, making the most of what could be a very colorless part. Francesca Solana has her moments as the niece, but she is frequently shrill and overly intense. She is at her best in her quieter moments. Margery Ziskind is unconvincing as the wife, Frank Langella also has his moments, but generally his characterizations is overdrawn.

Lewis Lehman's staging in the intimate scenes is frequently static, (in the first scene, for instance, he has Mr. Lurtsema rooted to an armchair for what seems an eternity) but his crowd scenes are nicely handled. And his interpretation of the play is lucid and valid. Cherie Hughes has some very nice lighting effects, but the set, such as it was, could have stood a bit more imagination and atmosphere.

This is the first opportunity I have had to see this play since Mr. Miller revised it in 1956. It would seem to rank now with Death of a Salesman. In the true Greek manner, it provides "a proper purgation through pity and terror," a cathartic evening of theatre.