I avoided this production in New York in part because I have trouble with Miller's play--well, particularly the last lines when Miller tries to justify, even praise, his loathsome central character. Miller's great weaknesses was his uncritical view of the respect due to white patriarchs, no matter how flawed or destructive. Now in the age of Trump and the campaign on the part of some men, with Trump's blessing, to restore white patriarchy, A VIEW FROM THE BRIDGE seems frighteningly timely.
Miller once wrote an essay entitled "Tragedy and the Common Man," expressing his desire to adapt Greek tragedy for ordinary American male protagonists. Eddie Carbone, the central character in A VIEW FROM THE BRIDGE, is a Brooklyn longshoreman who lives with his childless, sexually unsatisfied wife Beatrice and the eighteen-year-old- niece he has raised. Clearly he is in love, or at least in lust, with his niece and, naively, perhaps, she feeds his desire. Neither Eddie nor his niece Catherine are good at recognizing and acknowledging their sexual impulses. Enter two distant relatives of Beatrice's, Sicilian illegal immigrants Marco and Rodolfo, and things in the Carbone household reach a boiling point. Catherine turns her attention and desire onto blond, handsome Rodolfo, which turns Eddie into Othello. He decides that Rodolfo must be homosexual because he is blond, likes to sing and can make a dress. All this is a way to mask his desire for his niece and perhaps a latent desire for Rodolfo. At the climactic moment, he passionately kisses his niece and, when Rodolfo tries to beak that up, kisses Rodolfo, ostensibly to prove that he isn't fully masculine. When that doesn't work, he turns Rodolfo and Marco into the immigration authorities.
Eddie is a man who is totally unable to acknowledge his true desires. He demands his authority as patriarch and full respect from everyone in his household. His wife is not to talk to him about the fact that they have not had sex for months. When Marco accuses him of turning them in, he demands a public apology. In a Christian framework, Eddie might deserve forgiveness if he ever confessed to wrongdoing but he will not do that--it would weaken his position as patriarch. Greek tragic protagonists alway had a moment of anagnorisis, of recognition of their complicity in the horror we see. Not Eddie.
Watching A VIEW FROM THE BRIDGE is watching the inevitable damage wrought by a repellent human being. Yet the last lines of the lawyer Alfieri, who serves as a kind of Greek chorus, demand that we see "purity" in Eddie's actions, that we see his demand for an undeserved authority and respect as somehow noble. I could see Eddie Carbone marching with the other Fascists in Charlottesville or shouting "Lock her up" at a Trump rally. He's a man who demands his authority as a straight (maybe), white American male. To quote the 2016 Democrat candidate for president, he's a "deplorable." Too bad Miller, from his 1950s patriarchal viewpoint, doesn't see that.
Oddly, Miller presents a Sicilian Catholic family with no mention of Catholicism or the influence that might have on the Carbones. There's no religion here. Wouldn't Eddie, in his need for self-justification, go to a priest rather than a lawyer? Miller's only concern is with the irrelevance of the law when faced with passion or a primal code of vengeance. The lawyer-chorus can only watch helplessly as Eddie becomes more and more destructive and one Sicilian vows revenge. Yet Eddie's ultimate weapon to keep Catherine under his control is immigration law.
Ivo van Hove's production, played on a small, bare playing area, does away with all the trappings of realism and gives us a powerful elemental conflict. The cast was uniformly excellent. Ian Bedford caught all of Eddie's bluster, his jealousy and his domineering nature. He made Eddie interesting--it's impossible to make him sympathetic. Andrus Nichols made his wife Beatrice more tough than the usual dippy Arthur Miller wife. Catherine Combs caught Catherine's naivete and confusion.
Given the minimalist physical production, one really notices the music and sound effects. I am still a bit baffled by van Hove's constant use of Faure's gentle, elegant Requiem as the opening and closing music. Key scenes are punctuated by ominous percussive sounds.
All in all, a great production of a problematic play whose passions, in van Hove's hands, become truly operatic.