A Soul in Torment

A View From the Bridge

Shattered Globe Theatre is known, and relied upon for, their consistently excellent productions. Their current presentation of “A View From the Bridge,” one of Arthur Miller’s finest, most gut-wrenching dramas, is as rewarding an evening in the theater as you’re ever going to find.

The bridge that Arthur Miller references in the title has a double meaning. First, his drama takes place in a neighborhood near the New York docks, within view of the Brooklyn Bridge. Second, the play is narrated by an Italian immigrant, a Mr. Alfieri. He’s a respected lawyer and a valued friend of the tragic main character, Italian-American longshoreman Eddie Carbone. Alfieri opens the play with a brief description of the violent history of the Sicilian community. He explains that nowadays the immigrants are more willing to let the law settle their disputes. The lawyer appears between scenes to comment on the characters and story, much like the Chorus in a Greek tragedy; thus, Alfieri serves as a bridge between the two communities.

Eddie is a hardworking husband and provider for his loving wife, Beatrice. He’s also a surrogate father to and protector of Beatrice’s teenage cousin, Catherine. She lost her parents as a child and has been raised by the Carbones. Catherine is sweet, smart and lovely. She finished high school and has almost completed her stenography coursework when she’s offered a good job. Eddie, who’s become more obsessed and protective of his ward as the years go by, objects to Catherine taking the stenographic position near the docks. He also criticizes how she dresses and that she’s taking an interest in young men. Eddie and Beatrice haven’t had marital relations in months and Beatrice is worried that her husband’s attention to Catherine has become an obsession and out of hand.

Then two more of Beatrice’s Italian cousins arrive illegally and are generously taken in by the Carbones. Marco is very strong, yet quiet. Back home he has a wife and starving family who are in desperate need of Marco’s financial help. He tells Beatrice and Eddie that, after working on the New York docks for a few years, he plans to return home to Italy. Younger cousin Rodolpho is more of a romantic. Lacking Marco’s physical strength, Rodolpho demonstrates his skill as a singer, dancer and artist with his hands. He plans to marry someday and make America his new home. But when Catherine begins showing Rodolpho her attention, Eddie becomes fiercely jealous and the conflict ramps up.

This enthralling production is directed with passion and precision by Louis Contey. The play, much like a classic Greek tragedy, is staged on Shayna Patel’s sparse, barebones scenic design. All frills are eliminated so that only what’s most important exists—the characters. Arthur Miller’s tragic drama plays out with the audience close to the action. Seated alley-style, theatergoers watch the story unfold from either side of the stage. 

Contey has a most talented cast with whom to share this sorrowful story. Scott Aiello is absolutely masterful as Eddie. The anguish his character feels is written all over his face and in his body language. He’s torn between his feelings for young Catherine and the love for his wife. He’s also an honorable man and wants to keep his promise in supporting Beatrice’s two cousins, while harboring doubts about the younger man’s character. Eddie, in the hands of this gifted actor, is a study of a soul in torment.

Always and forever one of the finest actresses in Chicago, the fabulous Eileen Niccolai simply radiates love and devotion as Beatrice. Keeping silent, until she can’t suppress her feelings any longer, Ms. Nioccolai’s Beatrice struggles valiantly to hold her tongue while supporting her husband, no matter how wrong she feels his views and decisions. Beatrice is equally tormented, with a strong woman’s point of view. Her pain and frustration drives this drama.

As Catherine, Isabelle Muthiah is quite impressive. She holds her own in the company of such talented, seasoned actors. Isabelle is strong and attractive, playing a teenager becoming a young woman and realizing both her love and revulsion for the man who raised her. The actress also glows as Catherine’s first real romance finally blossoms and makes life seem more worthwhile.

With dignity and eloquence, John Judd creates a more difficult character to play: the narrator. He stands outside the perimeter of the story to observe and tell the audience what they need to know, as they need to know it. When Mr. Alfieri finally steps into the plot we see a learned man who, despite his role as a lawyer, is also torn between his Italian heritage and his professional obligations.

The supporting cast is equally adept. Handsome Harrison Weger is a polished performer and ideal as Rodolpho. That winning smile of his and an eager countenance, his gentility, a lovely singing voice and graceful dancing skills make his Rodolpho a natural as a first love for Catherine. As Marco, Mike Cherry is muscular and with a quiet strength that’s both appealing and a little frightening. The scene where he describes how much he misses his wife and children is heartbreakingly good. Both actors master the lilting Italian dialect perfectly. And playing several smaller roles each, both Chris Martin and Adam Schulmerich are very good as fellow longshoremen, as well as the Immigration Officers.

Much like a modern Greek tragedy, Arthur Miller’s poignant and often pitiful drama, set in Brooklyn during the 1950’s, is a story of how pride goeth before a fall. Eddie secretly lusts for his wife’s pretty, young cousin, while still trying to remain faithful to his devoted wife. Jealousy and bigotry, homophobia and xenophobia play a huge part in this sad story. It’s a tale about a man doomed by his own hubris. All Eddie wants is his name and to be respected. By the end of this play, all he gets is sorrow and tragedy created by his own pride and small-mindedness. He leaves this story as a shattered soul who will be forever in torment.           

Highly Recommended

Reviewed by Colin Douglas

Presented September 8-October 21 by Shattered Globe Theatre at Theater Wit, 1229 W. Belmont Ave., Chicago.

Tickets are available in person at the door, by calling the

box office at 773-975-8150 or by going to www.SGTheatre.org/View.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.