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Arthur Miller's "A View From the Bridge" at the Cort Theatre
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Arthur Miller's "A View From the Bridge" at the Cort Theatre

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A View From the Bridge
By Arthur Miller
(A View From the Bridge Website)
(Arthur Miller Bio)

At the
Cort Theatre
138 West 48th Street

Liev Schreiber as Eddie
Scarlett Johansson as Catherine
Jessica Hecht as Beatrice
Robert Turano as Louis
Joe Ricci as Mike
Michael Cristofer as Alfieri
Corey Stoll as Marco
Matthew Montelongo as Tony
Morgan Spector as Rodolpho

With: Alex Cendese, Anthony DeSando,
Antoinette LaVecchia, Mark Morettini, Marco Verna

Directed by Gregory Mosher
Set Design: John Lee Beatty
Costume Design: Jane Greenwood
Lighting Design: Peter Kaczorowski
Sound Design: Scott Lehrer
Hair & Wig Design: Tom Watson
Casting: Cindy Tolan
Dialect Coach: Stephen Gabis
Production Stage Manager: William Joseph Barnes
Press Representative: Boneau/Bryan-Brown
Production Management: Hudson Theatrical Associates
General Management: STP/David Turner

Dr. Roberta E. Zlokower
January 27, 2010

From the moment the lights appear, the audience was breathless. Arthur Miller’s A View From the Bridge is an iconic play, with each character tempting fate, communicating with nuanced body language, of repression, longing, brooding, lust, revelation, rejection, and, foremost, primal need. Liev Schreiber, as Eddie Carbone, in his simple 1950’s apartment in Red Hook, Brooklyn, slowly morphs before our eyes, with a twitch of the mouth, a sudden breath, a scratch of the thigh, a glance across the room, from an easygoing husband and uncle to a panther in heat. And that heat isn’t directed toward Beatrice, his wife (Jessica Hecht), but rather toward Catherine, his 17 year-old niece (Scarlet Johansson), who tempts fate in her own youthful exploration, like sitting on Eddie’s lap or at the edge of the tub as he shaves in shorts.

The heat builds slowly, but gains momentum on the arrival of two of Beatrice’s cousins from Italy, illegal and needing jobs. Eddie, who works at the Brooklyn dock, a daily, tough, physical grind, finds work for Marco (Corey Stoll) and Rodolpho (Morgan Spector). Rodolpho immediately shows Eddie, at home, how he lifts a chair with one arm, while on the floor, a feat that Eddie couldn’t handle. Thus, the die is cast, and Marco puts Eddie on defense, exacerbating the heat. But, when Rodolpho takes Catherine out for the evening, and the youthful couple’s chemistry lights up like a Christmas tree, Eddie is out for the kill. Immigration is notified, Eddie is outed as the informer by Marco, and fate closes in fast. I found myself leaning forward, mentally devouring each word and each shift of action, as Gregory Mosher’s direction maximized theatrical tension and challenged each actor to absorb the role.

Scarlett Johansson, renowned film star, was surprisingly persuasive, dressed in conservative period clothing, of dim, colorless style. Her hair was drab brunette, but Scarlett Johansson could light a brick by her proximity. She was clearly luminous in Eddie’s eyes, while Beatrice was invisible to him. At one point Beatrice says, “When am I going to be a wife again?” Eddie’s desire was booked for eternity, and Jessica Hecht’s own repressed heat was poignantly painful. Morgan Spector, as Rodolpho, shifted from vulnerable immigrant to suave, flashy, singing, cooking, suitor. He drove Eddie over the edge. Corey Stoll, as Rodolpho’s protector and Eddie’s nemesis, Marco, shifted from grateful guest to angry avenger. One significant character not mentioned was Alfieri (Michael Cristofer), an omnipresent lawyer, who talks to Eddie and addresses the audience, like the voice of Arthur Miller, a man who knows all, predicts all, but cannot stop fate. This show was among the finest of quintessential Broadway.

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For more information, contact Dr. Roberta E. Zlokower at