Joseph Ziegler as Joe
Keller in All My Sons. Photography by David Hou.
All My Sons
Stratford Festival 2016
Tom Patterson Theatre
Written by Arthur Miller
Directed by Martha Henry
Approximate running time: 2 hours and 45 minutes
(with intervals of 10 and 15 minutes)
May 30-September 25
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519.273.1600
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It may take much of the play before the real
meaning of All My Sons is finally revealed but director
Martha Henry ensures us her thought-provoking, nicely paced adaptation of the
Arthur Miller classic is time very well spent.
With a stellar cast headed by Lucy Peacock and
Joseph Ziegler in the lead roles and the theatre’s wonderfully restructured
in-the-round arrangement, the production is both a visual and conceptual treat.
In the case of the latter, the audience gains a completely new vantage point of
the family’s back door/patio area.
Essentially the space becomes literally and
figuratively a bridge to the garden where personal evaluations, life-changing
revelations and ultimate truths are trotted out into the open air. On the
surface it may represent a quaint family comfort – particularly in the past –
but the moment lighting strikes the tree planted as a memorial to a son lost in
the war, it becomes the place where lives fall apart.
It should be noted the soundscape design was the
work of respected sound designer Todd Charlton who died early in the year,
shortly after completing the project, and to whom the production is dedicated.
With the majority of the action taking place in the past, it is ironically the
only spot where any events – specifically the destruction of the tree – occur.
Superficially the play – based on a true story –
appears relatively straightforward, based on the failings of a flawed
individual. Miller was also influenced by Henrik Ibsen’s The Wild
Duck, from which he took the idea of two business partners – one forced
to take moral and legal responsibility for the other.
In All My Sons, plain-talking
sixty-year-old Joe Keller, an under-educated but successful businessman, has
been living a lie for more than three years. Exonerated after charges were
levied against him for knowingly shipping damaged aircraft engine cylinder
heads that resulted in the death of 21 young pilots, he avoided jail time by
blaming partner and former neighbour Steve Deever, who is still imprisoned.
His wife Kate, while never openly admitting it,
knows Joe is guilty but lives in denial while futilely mourning their older son
Larry, who has been missing-in-action for three years and presumed dead. She
refuses to accept reality.
While a thoughtful examination of dysfunctional
characters on a personal level, on a broader scale playwright Arthur Miller
painstakingly dissects the woes of a war-weary society, one that appears to
equate success with unapologetic fiscal greed, monetary-driven expediency and a
crass disregard for human life. Joe is the poster child of the American Dream
gone tragically wrong.
The latter critique resulted in the left-leaning
Miller being called to appear before Joe McCarthy’s House Un-American
Activities Committee during the Red Scare 1950s when hysterical U.S. government
officials were conveniently discovering Communists – real or imagined – behind
every cupboard door.
A slow-simmering tale, the introductory first act
offers more background information and cursory glances of the characters’ more
public personas before giving way to the more volatile second and third
chapters. Henry expertly guides her actors through their paces, coaxing
well-crafted performances from all.
Ziegler, engaging his son Chris in exchanges of
fake jabs, hooks and crosses in playful outdoor boxing matchups before
succumbing to the ugly reality of his life, is brilliant. A supposedly
well-liked man, whose secret appears nonetheless well-known by so-called
neighbourhood friends, he is the convoluted symbol of Miller’s failed American
Dream.
Lucy Peacock as Kate
Keller in All My Sons. Photography by David Hou.
A portrait of self-perpetuated pretense, Peacock’s
Kate is a sight-to-behold – a masterful display of a soul being torn apart from
within. One moment the epitome of suburban charm, grace and outward happiness,
the troubled wife dissolves into gut-wrenching shrieks of despair and then,
within the blink of an eye, back again to the more acceptable but unreal sense
of domesticity.
Chris Keller, the 32-year-old son who has survived
the war, is the moral compass of the play. Tim Campbell has a field day as an
intensely philosophical man, always eager to please but deeply troubled by the
fact that life goes on as normal, as if World War 11 had never happened. Part
one of his character’s troubles occurs when he invites his brother’s fiancĂ© Ann
Deever to the Keller house to propose to her.
His plan stumbles because of his mother’s assertion
that Larry will someday return. The second part is when he learns the
devastating truth of his father’s heartless actions, those from the man he once
idolized.
The solid company also features Sarah Afful’s
intriguing, clear thinking Ann Deever; Michael Blake as her older brother
George, a New York lawyer returning to stop her marriage to Chris, thus
becoming a catalyst that helps destroys the Keller family; E.B. Smith as the
successful but frustrated doctor Jim Bayliss; Lanise Antoine Shelley’s
delightfully volatile but often secretive Sue, wife of the doctor with Rodrigo
Belifuss and Jessica B. Hill rounding out the cast as the Lubeys, the whimsical
horoscope drawing Frank and George’s one-time love interest but now thoroughly
domesticated Lydia.
A tip of the hat to Maxwell Croft-Fraser and
Brandon Scheidler as alternate Berts and Tommys.
Credit Henry for boldly introducing both the
Deevers and Bayliss family as black members of what might have been considered
in those days to be a purely white middle class American community. The end
result is affording great actors like Afful and Blake (both standouts as the
Macduff family in Macbeth), Smith and Shelley the opportunity to showcase their
considerable skills as versatile actors – regardless of colour.
Wonderful package of entertainment - ««««1/2 out of
five stars.
Geoff Dale is a Woodstock-based freelance writer.
This review originally appeared online here at The Beat Magazine
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