The argument over whether or not movie stars should be imported to New York to boost ticket sales won’t end here. But there is no doubt that Scarlett Johansson, a newcomer to the scene, couldn’t be better as Catherine, the too much beloved niece, in Arthur Miller’s A View From The Bridge. Freed from the need to project any sort of glamour, dressed in a plain skirt and sweater (and yes, you can’t miss the fact that she really fills out that sweater), and wearing a nondescript dark wig, her natural beauty shines through.
More importantly, this actress has the chops to fully bring to life the conflicted Catherine, who is torn between the love she feels for her uncle, and the passion that is ignited by the man she wants to marry. It’s no small thing that her Red Hook accent is perfect. She never falls into the trap of exaggeration, and so avoids the comic stereotype so often associated with Brooklyn.
The fact that Johansson can go toe to toe with Liev Schreiber speaks volumes. Schreiber has a very successful career of doing narration, and here, he uses his voice to convey not only the torment felt by Eddie, the longshoreman who comes to a crossroads in his life, but also the humor. Schreiber never punches a laugh line; he doesn’t have to. Nor do we doubt for a moment that this man could do the heavy work on the docks. When he proclaims, “I could work for twenty hours on a coffee boat,” you can smell the aroma of the beans on the deck. His code for getting along, “You don’t see nothin’, you don’t know nothin,’” comes from the gut, from a lifetime of living by a rough code imposed by community and family. When he feels the need to break this code, the decision is wrenching, and has tragic consequences.
The illusion of the domestic household coinciding with the neighborhood is further bolstered by John Lee Beatty’s revolving set. The gritty world of brick and mortar blends with the interior of the inside of the house. It is shabby; the housewife worries that it won’t be good enough to welcome the cousins from Italy who spark the conflict. And yet, this is a real home, complete with easy chair and Christmas statues displayed for the holiday.
As Beatrice, Eddie’s good wife who becomes increasingly concerned about the intense relationship between her husband and her niece, Jessica Hecht once again turns in a performance that is both layered and thoughtful. She admonishes Catherine not to walk around the house in her slip, not to talk to Eddie as he shaves in the bathroom wearing only his underwear. We understand her nervousness at allowing two illegal immigrants to take temporary refuge in her home; “I’m just afraid if it don’t turn out good, you’ll be mad at me,” she confesses to her husband. And yet, this is no mouse. She confronts her man with her desire to “be a wife again,” and when necessary, she has no problem yelling back at him.
Corey Stall is excellent as Marco, whose goal in coming to America is to make money to send to his starving wife and children in Italy. Morgan Spector has a more difficult task in making Rodolpho a worthy adversary in the fight for Catherine’s love. He is ingratiating, but the spark just isn’t there. Spector is not helped in his quest by one of the worst wigs seen on the stage this season (in a surprisingly wide field). It would be easier to dismiss Eddie’s claims of the blond hair being not quite natural if it didn’t look so fake.
As directed by Gregory Mosher, this is an extremely well done revival, but the play itself is problematic. Setting aside the political debate about how much of this drama is actually about “naming names” to the House Committee on Un-American Activities, and whether or not Catherine is actually Marilyn Monroe, Miller doesn’t trust his audience. Just in case we don’t get the incest theme from the dialogue and actions of the characters, Miller also includes a lawyer who spells out the taboo to Eddie himself, “She’s gotta marry somebody; she can’t marry you, can she?” OK, thanks.
There is one question that should be addressed and never is. In this supposedly tight knit community, why is everyone so quick to blame this solid neighbor they have known for years, based on the word of a disgruntled immigrant? Where is the scene of Carbone’s friends wondering whether or not the charge could be true?
A View From the Bridge is a compelling drama that will have theatergoers appreciating the fine performances, and debating the issues. Who could ask for anything more?
A View From The Bridge, Cort Theatre, 138 West 48th Street, 212-279-4200. All photos by Joan Marcus
Michall Jeffers is an accomplished cultural journalist. Her eponymous cable TV show is syndicated throughout the tri-state area, and features celebrity interviews, reviews, and commentary. She writes extensively, both in print and online. She is an active member of Drama Desk, Outer Critics Circle, American Theatre Critics Association, International Association of Theatre Critics, Dance Critics Association, and National Book Critics Circle.
