A View From The Bridge

Obsession, violence and romance are just some of the simmering tensions that provide a backdrop to DramSoc’s spring production, an adaptation of celebrated American playwright Arthur Miller’s A View From The Bridge.

Set in 1950s New York, the play tells the story of Eddie Carbone, his wife Beatrice and orphaned niece Catherine, whose lives are changed both for better and worse when Beatrice’s Italian cousins arrive to live in the family home. As illegal immigrants, the cousins are initially made welcome in the Italian American neighbourhood but as their stay continues, feelings within the home rise to the surface. These are teased out in tragic fashion as the play races along to its conclusion, which, at just under two hours long (including interval), certainly doesn’t outstay its welcome.

Of course, as with any play set in foreign climes, a considerable amount of audience investment rests in the decision whether to go all out and embody the characters, accent and all. Luckily, the team have made said decision with aplomb and demonstrate convincing dialects ranging from Sicilian to Brooklyn twangs. It’s clear that there’s been some considerable work and effort placed on them; you definitely won’t find any hammy “Noo Yoik” turns here.

On top of this, all players are confident in their portrayals of the varying characters and their personalities, convincing the audience of the relationships that exist between them, from overbearing father figure to wife concerned for the wellbeing and state of her family.

In an intriguing departure from recent DramSoc productions, the decision has been taken to stage this play in the round, with the stage in the middle of the hall and the audience on either side. Whereas moving between multiple scenes and locations on a conventional stage might have been more static and forced, this method provides a far more cohesive and tight production, with a greater link between all characters on stage and compelling interaction with the audience.

One sterling example of this is a scene involving a confrontation between several characters in the centre of the stage as another circles to approach to them. This builds a fantastic sense of menace as we await the inevitable, and much of the dramatic potential could easily have been lost by a more traditional production.

Without a doubt, the direction and production behind this adaptation must be praised for taking on such a unique choice for the play, and equally the actors should be commended for bringing it to life with such sympathetic portrayals. Such a mix must be highly recommended; this is one boat you really want to catch.

Wednesday - Saturday this week, Union Concert Hall, 7pm

Tickets £5 in advance