|
||
|
Disclaimer:
The reviewers' opinions are their own and do not necessarily reflect the views of TheatreLouisville.org. |
Peer Reviews All My Sons Written by Arthur Miller Reviewed by Keith Waits Entire contents copyright © 2009, Keith Waits, all rights reserved
A few years after the end of World War II, a family painfully comes to grips with the truths contained in the tragedy of a son lost in the war, and the implications of the father's role in the scandal of his company's involvement in selling faulty aircraft parts to the military. First produced in 1947, All My Sons was the first success for Arthur Miller, and introduces the theme central to most of his subsequent and seminal works, such as Death of a Salesman: the deconstruction of the American dream. While this early work is not quite the icon of American theatre that his later plays would become, it remains a solidly structured and beautifully observed script. Such material is a challenge for a community theatre like The Little Colonel Playhouse, but the company of players rises to the occasion with care and commitment. The first act gets off to a slow start, and some of the cast seemed a little stiff and self-conscious in the early scenes, which may be attributable to opening night jitters. But once the second act was underway, the actors found their footing and were soon delivering the goods, striking the right notes in powerful scenes of confrontation and revelation. During the third and final act, the inevitable tragedy and terrible grief of this dark story were delivered with the appropriate pace and delicacy. Director David Goodlett displays a firm grasp of the material and moves his cast with confidence around the small stage. He also has a sure eye in casting. As the father and head of the manufacturing plant, Joe Keller, Brad Castleberry is nicely understated and brings complex shadings to the playwright's thoughtful dialogue. In the role of his loyal son, Chris, Jonathan Adams outlined the brash American post-war male in fine fashion, while Grace Poganski filled in the details of the brittle but loving mother, Kate, with careful attention to the fragile balance her character requires to survive. As the young woman, Ann Deever, that has been the romantic ideal for both Keller sons, Maggie Hartman provided the necessary charm and managed, despite some struggle, to capture the tough and resolute allegiance to the truth that the character must muster towards the end. And Chris Haulter nicely energized the proceedings with his entry in the second act as Ann's brother George, whose arrival is the catalyst for the upheaval of the illusory existence of all of these characters. Rich Williams maintained a low-key and mournful undercurrent as a neighbor who understands more of the truth than anyone realizes. Jane Burke's evocative set design was a particular accomplishment, given the diminutive dimensions of the Little Colonel stage, and provided a good space for Mr. Goodlett's clean and careful blocking. This intelligent production provides proof that community theatre need not play it safe with fluffy, outdated comedies that welcome irrelevancy. Taking a little risk and mounting substantial material can pay off handsomely. If you don't believe me, check out this worthwhile presentation of an American classic and see for yourself.
All My Sons Posted Jan. 16, 2009
|
|