In many ways, it seems that the modern trend for revivals of texts considered ‘classical’ is to stage them in a vividly different context and/or to that of the original production, constructing a world entirely different to the one imagined by the original playwright. While for many projects, this is done in earnest and with reason or vision, it is still therefore refreshing to see a production such as Lindsay Posner’s A View from The Bridge, in which all efforts are made to ensure that it is Arthur Miller’s original text that takes centre stage; Posner has selflessly resisted overcomplicating things and constructed a gritty and honest piece, that focuses in on the actors’ performances and removes any unnecessary ‘bells and whistles’ that may distract from what is an incredibly emotionally complex piece of writing.

 The story though, of a man struggling to balance his pride with social responsibility as he reluctantly welcomes two illegal Italian immigrants into his New York home only for his niece to fall in love with them, inevitably takes on different meanings through a modern eye. For example, it is surprising how much the examples of implied homophobia expressed by Eddie (Domonic West) towards Rodolpho (Callum Scott-Howells) is comedic… Perhaps these scenes would not be laughed at so much in older productions, but now, a modern audience sees Eddie’s fear as silly - we look down on him instead of with him. This can make for an unusual critical viewing of the piece. So, while we admire the efforts taken to keep this production true to Arthur Miller’s text, we also struggle to see, from a critical perspective, the reason for reviving the show in this way – what are we trying to say here? Perhaps this is purely to showcase the phenomenal talent of the performers, and not necessarily leave audiences with a moral lesson; it becomes our job as an individual to react how we see fit. Are we wrong to demand a *statement* from every revival, or should there always be a reason for bringing back politically charged pieces from eras past?

Regardless of this, the show’s focus on the performances allows us to appreciate just how good the cast here are; Domonic West offers a rough yet grounded Eddie, full of a (just about) controlled inner rage, and while the opinions and core values of the character could make it difficult for an actor to engage the audience and remain the driving force of the show, West has no issue remaining entirely compelling throughout. We feel he has been excellently cast in this show, and in scenes (alongside Pierro Niel-Mee’s Marco especially) the tension can be cut by a knife thanks also to the direction of Lindsay Posner. Whilst we believe that the show may have been directed without a clear reason or purpose, by no means are we saying that the show has been directed without incredible skill. The piece flows brilliantly and is both emotionally complex and yet still accessible for those that are new to the story. Clearly there has been care taken here to ensure that the story can be grounded and still be followed.

 Callum Scott Howells is of course a highlight. Ever-reliable, his on-stage charisma was always sure to shine through, especially in the role, he has the audience on-side within minutes of his introduction as Rodolpho. We must also draw attention to relative newcomer Nia Towle, who was absolutely captivating in each scene, and demonstrating brilliant range from roles we have seen her in in the past (Ocean at The End of The Lane), surely an exciting career is ahead of her. We feel that this production has been exceptionally cast by Ginny Schiller (CDG)

Truly a prestige piece, A View from The Bridge is sure to be a hit for fans of classic texts, but we still remain unsure as to its place in the West End in 2024.

 **** Four Stars

Reviewed by Matthew Foster

A View From The Bridge plays at the Theatre Royal Haymarket until August 3rd. To book tickets please click HERE