Director Rod Natkiel stages the beloved and excellently crafted Arthur Miller play All My Sons in the Crescent Theatre’s Main House venue this autumn, breathing authenticity and naturalism into this finely crafted play. Well-known for his excellent literary repertoire from The Crucible to Death of a Salesman, Miller’s writing alone is enough to enchant and bewilder audiences in this production. All My Sons follows the journey of the Keller family as they encounter loss, the revelation of hidden secrets and eternal yearning for the American Dream, portraying a continuation of internal and familial conflicts in post-war America, themes that feel just as relevant within our current political climate.

Kate Keller is convincingly brought to life by Paula Snow, bringing depth and intricacy to the role of the matriarch. Throughout All My Sons, we see Snow engage with the complexity of Kate Keller’s character arc from tenderness to powerlessness, overprotection to contemplation. Snow finds an excellent balance within the naturalistic style of the play and highlights the challenges of being both a mother and wife within this period, whilst showcasing internal strength as both a character and actor in this production.

Family bonds are central to the play’s narrative arc and are excellently showcased via the father and son duo of Joe Keller (Bill Hayes) and Chris Keller (Jason Adam). From initial laddish camaraderie and playfulness, to confronting each other’s secrets with raw emotional delivery, these actors have a well-rounded toolkit to draw out the social-political commentary at the heart of the narrative. Jason Adam brings a gripping performance throughout, especially when playing against Hayes’ Joe Keller, as these moments are action-packed with grief, rage and sensitivity to show the nuances of familial conflict that outlive the violence of World War II.

Natkiel’s production is equipped with a talented supporting cast. The comedic timing and light-hearted energy of Christopher Dover’s portrayal of Frank Lubney successfully contrasts the more serious overtones of the play’s narrative. Audiences are entertained by Dover’s mannerisms and energy in this role right from his first entrance where he comedically jumps up from behind the fence with gusto. Steph Urquhart’s appearance as Lydia Lubney is captivating despite her fleeting time onstage. She brings a great energy through girlish giggles and flirtations, making her a memorable addition to the generously talented cast of Natkiel’s production of All My Sons.

Design elements of the play instantly transport audiences to the heart of the action. Keith Harris’ set design is beautifully crafted, consisting of a functional white house and garden, with incredible attention to detail both for the period of the piece as well as showing the aftermath of the storm with apples and flowers strewn across the stage. The apple tree memorial downstage evokes a bitterly haunting reminder of the damage of the war. Special mention goes to both Philip Parsons and Erik Olsen for their assistance with set construction and painting, making an excellent backdrop and scenic masterpiece to this loyally naturalistic version of Miller’s All My Sons. Pat Brown and Vera Dean do an excellent job with costuming this play, making the era clear from the opening scenes and creating a brilliant array of stylish dresses.

Overall, Natkiel’s naturalistic direction of All My Sons delivers a heart-rendering production that pulls on audience member’s heartstrings, breathing new life into Miller’s 20th century classic. Striking acting and raw emotional delivery highlight the timelessness of this brilliant play.

**** Four stars

Reviewed by: Heidi Downing

All My Sons plays at the Crescent Theatre, Birmingham until 5 October, with further info here.