Theater Review

Tom Titus

The passage of time -- nearly a half-century in this instance -- does

little to dilute the impact of great plays, and virtually all of Arthur

Miller’s works fit into this category.

Miller explores the human condition like few other dramatists. Miller

redefined the term “tragedy” from, as in Shakespeare’s time, the fall of

the once-mighty to the misfortune of the working class. As a result, his

stories of men like Willy Loman and Joe Keller are as powerful as those

of Macbeth and Lear.

In “A View From the Bridge,” Miller focused on an Italian dock worker,

Eddie Carbone, an intrinsically decent person whose character flaws,

nurtured by his volatile heritage and, perhaps, lack of sophistication,

lead to the modern definition of tragedy.

It’s a stunning play when it works -- and it works superbly at the

Newport Theater Arts Center.

Director Michael Ross has fashioned a thoroughly involving production

that exudes a dark, sweaty reality, smoothly transporting its audience to

the Brooklyn waterfront area of 1955 where illegal immigrants are

smuggled into temporary lodgings and assigned to work off their passage

on the docks. It’s a tough, demanding era, governed by its own brutal

code of honor.

Into this caldron are poured two “submarines,” aliens from Sicily hosted

by Stevedore Carbone, his wife and pretty young niece -- who instantly

draws the attention of one of the immigrants and brings Eddie face to

face with his own twisted obsessions.

The performance of Ed Dyer as the seething Eddie Carbone is simply

magnificent. Initially appearing a bit young for the role, Dyer seizes it

like a pit bull and explores its dark, visceral shadings. The rage

fomenting within him is expressed with a natural and fearsome quality

that builds toward a shattering climax.

Andrea LaVela also impresses as Eddie’s unfulfilled, ever-subservient

wife, perceptive enough to recognize his unhealthy fixation on the niece,

but powerless to intercede. As the young girl on the threshold of

womanhood, Dena DeCola beautifully renders both her love for her uncle

and her fierce quest for independence.

Solid performances are turned in by the illegal visitors, Rav Choudhry as

the powerful Marco and Mathieu Primeau as the fragile Rodolpho.

Choudhry’s climactic face-off with Dyer is particularly riveting in its

uncompromising determination, while Primeau expresses his poetic nature

commendably.

John Gilbert, as the neighborhood lawyer and the audience’s guide to the

story, functions credibly as the voice of reason in a mad environment.

While he lacks the physical Italian “look,” Gilbert maintains a fine

character in his hamstrung authority.

Atmospheric contributions are rendered effectively by Jacob Proctor, Greg

Stich, Jose L. Barron and Kathy Ashworth.

The indoor-outdoor setting by David C. Carnevale faithfully recreates the

borderline slum world of the Brooklyn dock neighborhood, with the soiled,

peeling walls of the Carbones’ apartment particularly well executed.

Donna Fritsche’s period costuming and Ron Wyand’s audio contributions

complete a well-delineated stage picture.

“A View From the Bridge” is a difficult and demanding exercise in

theatrical dedication, created by one of our living legends and

compellingly presented by an inspired director and cast. Like most of

Arthur Miller’s work, the play ages quite well.

* BACKSTAGE -- The Trilogy Playhouse, which has moved into the theater at

Costa Mesa’s Lab Anti-Mall vacated by the Theater District, has a new

telephone number. Information about the troupe now may be accessed at

(714) 957-3347.

‘A View From the Bridge’

WHERE: Newport Theater Arts Center, 2501 Cliff Drive, Newport Beach

WHEN: 8 p.m. Thursdays through Saturdays, 2:30 p.m. Sundays through Feb.

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HOW MUCH: $13

PHONE: (949) 631-0288