A View from the Bridge. Photo: Craft Mark Photography.
A View From the Bridge, adapted from Arthur Miller’s novel, is a play that is surprisingly (and dismayingly) relatable even over 70 years after it was written. Which is quite a scary thought. Masquerade Malta’s and Teatru Manoel’s decision to co-produce this theatre show in Malta is timely. Before getting into the review, here are all the details.
Table of Contents
A View from the Bridge details
| Play | A View from the Bridge |
| My rating | ⭐⭐⭐⭐(4/5) |
| Author | Arthur Miller |
| Producer | Masquerade, Teatru Manoel |
| Director | Jean-Marc Cafa |
| Main cast | Peter Galea (Eddie), Isabel Warrington (Beatrice), Mikhael Basmadjian (Alfieri), Thea Costa (Catherine), Matthew Dimech Genuis (Rodolpho), Neil Cutajar (Marco) and Benjamin Abela (Mike/Louis/Officer) |
| Set designer | Adrian Mamo |
| Soundscape designer | Matteo Depares |
| Costume designer | Simona Mamo |
| Movement director | Rochelle Gatt |
| Dates | October 10, 11, 12, 17, 18, 19 |
| Content warnings | Grooming |
| Venue | Teatru Manoel |
| Duration | 2 hours 30 minutes including 15 min interval |
| Language | English |
A View From the Bridge narrative
This is the second Maltese theatre production I’m reviewing this year that deals with sexual grooming and abuse by a family member. The narrative this time round adds a second ethical issue to the mix – the treatment and vulnerabilities of migrants. It has also been a rich year in terms of productions tackling feminist themes; Naħliflek, detailing the rape trial of Artemisia Gentileschi, is one such example.
The action is based in Brooklyn, where Eddie Carbone hosts his cousins Marco and Rodolfo, freshly disembarked from Italy. The two have arrived to the US without permits, and are hoping to find work and to build a new life there. Rodolfo soon begins to court Eddie’s orphaned niece Catherine, who has been living with Eddie and his wife Beatrice since her mother died. And this is where Eddie’s ugly obsession with his teenage niece becomes too obvious to hide.
It would be lovely to say that the above is no longer relevant. But as the US and Europe are both taking a more right-wing stance to migration, and with sexual abuse on young women showing signs of increasing rather than decreasing… well, this 1955 novel may as well have been written today.
The cast
A View From the Bridge is one of those plays where miscasting one actor can ruin the whole thing. The narrative unfolds within an intimate space, with only a handful of main players. The cast is extremely well-matched, starting with Peter Galea in the role of Eddie Carbone, the villain of the piece.
Galea played a very similar role earlier this year, that of Uncle Peck in in Kif Tgħallimt Insuq (the play I referred to in the previous paragraph). Granted, the latter is very different in tone, with plenty of dark humour and a first-person narrative. Galea’s approach here is just as effective and chilling, as he reveals a complex personality to the audience. One minute he’s the doting uncle and father figure, the next he shows himself unmasked, as the predator that he truly is. From the start he succeeds in creating an ever-present sense of unease.
Isabel Warrington is his poignant counterpart, the wife who knows perfectly well what’s happening and yet chooses to ‘stand by her man’. Warrington matched Galea’s prowess for this complex character, lulling us into believing she’s on her niece’s side until her mask also drops. Again, I couldn’t help drawing parallels to the character of Lucy in Kif Tgħallimt Insuq, with both women blaming the victim at one point. The works were written more than 50 years apart. Yet, the most common response to the abuse of a young woman remains disturbingly similar.
Thea Costa as Catherine, the niece, brings a sense of naive innocence that is essential for the success of the role. Her courtship of Rodolpho (Matthew Genuis Dimech) is playful and innocent without being glib. Mikhael Basmadjian as Alfieri – lawyer and narrator – adds to the dramatic weight of the narrative.
The chemistry for this close-knit cast worked extremely well, and this includes the secondary characters of Neil Cutajar (Marco) and Benjamin Abela (Mike/Louis/Officer), resulting in a very tight production.
Direction, light and staging
A View From the Bridge is directed by Jean-Marc Cafa, who presents a superbly well-paced narrative, and who captures the claustrophobia of the events while also conveying the mythic scale of the drama. He effortlessly achieves the balance between Greek tragedy and more modern realism. Adrian Mamo’s set is a beautifully ominous, minimalistic – yet imposing – affair, casting long shadows and playing beautifully off the dark lighting. It’s the perfect foil to the drama that’s unfolding, ably complemented by Matteo Depares’ soundscape. The latter is equally minimalistic, and equally effective.
A View from the Bridge – verdict
A View from the Bridge is complex and layered, requiring a director and cast that know the value of nuance and can deliver it. It’s also on the long side by today’s standards, so everything really needs to be on point to avoid pacing issues and an audience peeking at their watch. Happily, Cafa and his cast nail it all fronts. This is an excellent watch for anyone who enjoys classic drama, an intense production that was handled with skill and sensitivity by director, actors and crew.
Affiliate/Advertising Disclaimer: How I Carry Out Reviews
I received no payment for this A View from the Bridge review and I was offered press tickets. The opinions expressed here are purely my own and the producers had no input/control over what I wrote. There are no affiliate links contained within this page.To learn more about my policies and my reviewing process, visit my Affiliate/Advertising disclosure page. To better understand what the my rating means, check out the details of the star system.
