Our second outing to the Theater der Welt Festival here in Hamburg was to celebrated Belgian director Ivo van Hove's French-language version of Arthur Miller's A View from the Bridge, which is having its German premiere at the venerated Thalia Theater. I had always wanted to see a production by van Hove, whose radical adaptations/deconstructions of classics from the dramatic canon, most designed by his long-term partner Jan Versweyveld, have earned him an international reputation. He has a particular affinity for twentieth-century American plays, and this is his second major production of a Miller work; The Crucible ran on Broadway alongside Bridge in 2016, with the latter earning two Tony awards.
Miller's Bridge, which began as a one-act verse drama, and which also seeded the screenplay for On the Waterfront, was the playwright's attempt to transpose the structure and themes of classical Greek tragedy to an American context. It centres on Eddie Carbone, who works alongside his friend Louis as a longshoreman on the waterfront in Red Hook, Brooklyn. Eddie is married to Beatrice, and together the childless couple has raised Catherine, the orphaned daughter of Beatrice's sister. At the play's opening Catherine has just turned 18 and has gotten a job as a stenographer, earning more money in a week than her stepfather. This is the first of the jolts to Eddie's old-school masculine sense of how the world should be. The second comes when Catherine falls in love with Rodolfo, one of two illegal Italian immigrants whom Eddie has agreed to take in and help find work. Eddie is convinced that Rodolfo, who is blond and likes to sing, cook and sew, is gay and only wants to marry Catherine so that he can stay in the country legally. This climaxes in Eddie publicly kissing Rodolfo in an attempt to expose the latter's hidden sexuality, but the act actually reveals more about Eddie's own latent tendencies. When Catherine still refuses to part with Rodolfo, a desperate Eddie calls the immigration authorities, a move that has graver consequences for the second of the two migrant workers, Marco; his subsequent revenge is the final piece of Eddie's tragic downfall.
All of this is narrated to us by the lawyer Alfieri, Miller's allusion to Vittorio Alfieri, considered the founder of Italian tragedy. In Bridge Alfieri is at once the conduit between the old world and the new world, and between the world of the play and the audience. His pronouncements--to both Eddie and Marco--on the coldness of the law, and the fateful consequences for those who would take it into their own hands, continue to have resonance. And, indeed, there is a way in which van Hove's production read to me on one level as a comment on the current global refugee crisis--and America's apparent indifference to that crisis under its current presidential administration. Versweyveld's set may have had something to do with this impression. At the top of the show the audience, which is configured in the round, is confronted with a huge steel-grey box that could double as a shipping container; when the play begins, the bottom half of the box rises to reveal the playing space, a bare white floor enclosed by a low glass wall, and with a single upstage door from which the actors enter and exit. All of the action--which takes place over a continuous two hours, with no scene breaks or blackouts--occurs in this space, and the spareness of van Hove's staging, together with the removal of any overt markers of the narrative's Brooklyn setting, seems to be part of the director's attempt to recuperate the play as a tragedy tout court--rather than as an expressly American tragedy.
Notwithstanding this impulse, as well as the fact that van Hove has successfully staged a version of this production in London, New York, Amsterdam, and Paris, there is still a way in which this piece seems quintessentially of its time--and, even more so, of a particular period in Miller's writing life when he was wrestling with what it meant, for him, to be an American man. Eddie is such a curious character; to my mind, he comes across as a kind of male hysteric. Maybe it was this particular view, or maybe it was the overall acting style of this company from Paris' Odeon Theatre, that suggested to me that Bridge is fundamentally a work of melodrama rather than tragedy. Then again, we're having a melodramatic moment, so maybe this is exactly the right register in which to stage this play.