A View From The Bridge, an effective play by Arthur Miller, was staged in the round at the Manchester Royal Exchange. By producing the play in the round, the action might be viewed from all angles which was a more effective method of representing the story. It likewise enabled the whole phase to be utilized without loss of action which allowed the phase to be divided into 2 sections– the street and inside your home. These 2 portions of the stage were quite obvious, being symbolised by the telephone booth (a secret prop later in the play) and the dining-room table.
That stated, other furnishings such as Alfieri’s desk, seemed a little unneeded, specifically given that it had to be generated from off stage for each of Alfieri’s scenes. This wasn’t helped by the general lighting in the theatre which could never supply a total blackout on phase due to the large quantities of windows in the upper seating areas.
The phase lighting was fairly basic with neutral ‘general’ lights utilized for most scenes. This was established rather in essential scenes such as Eddie’s death and the lighting was changed (although not significantly) when Alfieri recited his monologues. However noise was used quite effectively in these scenes with the exact same result being used to symbolise a change in the setting. Although the play featured very little props, when they were utilized, they were used to great result such as the cages being lowered at the start or the characters utilizing genuine food in the dinner scene and then consuming it. This also assists instil a sense of realism into the play and assists the audience to connect to the storyline.
Throughout the play, tension was gradually however skillfully built up to the final climax. The main character doing this was Eddie whose ever increasing hatred of Rodolpho developed the stress up until the very important telephone booth came into play. From there Eddie’s desperation relied on insanity and Con O’Neill’s representation of Eddie made him appear like something out of a scary movie, which just assisted to add to the stress. The lighting in the play also assisted add to the stress with more menacing and ominous lights used as the play advanced through the second act.
All of the characters where illustrated magnificently in the play thanks to fantastic acting paired with practical costumes, which made this play a genuine pleasure to see. The outfits worn by the characters were simple however effective, precisely representing the design of 1940s New York. The outfits also assisted contrast the personalities in between Eddie and Rodolpho with Eddie’s normal ‘working male’ clothes and Rodolpho in his wise t-shirts and stylish shoes. The acting was pull down rather by the voice acting of Catherine (Leila Mimmack) whose accent appear to be extremely variable, ranging from broad New york city to nearly full-on Italian. The voices of everyone in else in the play however were superb and really helped to make the play more sensible and believable. In specific Ian Redford did a sterling job, brilliantly portraying Alfieri’s vulnerability and narrating the story with exactly the right tone.
A minute that actually stood apart for me was the very last scene in which Eddie is trying to get Marco to give him back his regard. Con O’Neill portrays Eddie’s desperation superbly and uses every part of his body to make him appear insane, specifically his facial functions. The very same might likewise be said about Nitzan Sharron’s character Marco who is so furious with Eddies, he is virtually on fire. This scene is a really shocking point in the storyline which was splendidly acted by all considering that the scene featured almost all the cast.
The scene was let down somewhat by the over exaggerated and impractical death of Eddie Carbone. Even though producing a realistic death scene is difficult to do in any play, the way Eddie was stabbed and O’Neill’s acting on his death was a bit frustrating. However this might be due to the fact that the play was carried out in the round and so not everyone can experience the death as it was planned. The scene was well rounded off by Alfieri who delivered his regularly excellent speech which assisted end the scene, and the play, incredibly well.