Enclosed in a dynamic narrative, Arthur Miller’s A View from the Bridge illustrates his theory of a Modern Tragedy extending that of ancient Greece.His tragic hero of mid-20th century is as modern a one today as is the plight of immigrants involved in his story. So is the hero’s relationship with wife and neighbors.Even the chorus is both classic in inspiration and modern in its manner of delivery as directed by Elliott Raines for this Two Chairs staging. The story is framed and explained by Italian-American Alfieri who represents American law but also retaining of the culture of his parents’ country. In brief, the drama shows Eddie Carbone seeking to retain power over his niece Catherine because he’s in love with her. When his neglected wife Beatrice puts up new immigrants Marco and Rodolpho and the latter attracts Catherine romantically, Eddie seeks to discredit him as a homosexual seeking to marry to get citizenship. Marco defends his brother by winning a contest of strength humiliating Eddie. He betrays the boys and two others to Immigration Services and then meets his mortal fate. Charlie Tyler’s lawyer Alfieri is an effective bridge between cultures as well as elucidator of the dramatic action and the one who counsels Eddie. So strong is Jim Floyd as Eddie that he never seems an actor but rather a conflicted man whose self deception turns lethal to himself and his community. Though a bit old for Catherine, Lauren Ward accomplishes a naivety that changes to sexuality. Carrie McQueen’s Beatrice encourages Catherine to be independent and rightfully wants herself to be a happier wife to a happier husband. Dylan Jones’ Rodolpho is pitch-perfect loving to sing, dance, and dress well but mainly bent on becoming an American citizen, so much the better by wedding Catherine. His brother Marco, striving to support a family at home, Rik Robertson shows as insisting on dignity and uncompromising in care for his brother. Lynne Doyle and John Forsyth do well as the Liparis, who take in the rejected brothers and two other ill-destined immigrants played by Philip Troyer and Tom Aposporos. Matt Neier and Jay Bowman ring true as Eddie’s friends and represent longshoremen like him. Nick Catanzara doubles well as the immigrants’ guide ashore and later an Immigration Officer. Chuck Conlon is his duty-fulfilling Officer partner. As other members of the community—all of whom figure in the proceedings by acting or commenting—Andrea Keddell, Jackie Richards, and Grace Vitale are used by director Raines to be a Greek Chorus. In line with Two Chairs Theater Company’s philosophy of using minimal sets and props so as to concentrate on interpreting a script, Bill Rusling presents the Carbone home realistically through props but it is reached through abstract doors. A bare proscenium becomes streets. A desk and chair at one side are Alfieri’s office. Above the stage are representations of the dockside milieu. Every space has just the right illumination by Nick Jones. Josh Linderman’s musical sound works well but characters’ voices seem a bit over-miked. Costumes by Georgina Willmott satisfy the script’s demands. From a view at The Players Center, Arthur Miller’s work is in good hands.
