Con’s Score: 4 White Pickets
Arthur Miller’s script gets the National Theatre Live treatment at the Old Vic with a stellar cast crossing the Atlantic for this one.
Joe Keller (Bill Pullman) is the hearty epitome of the American Dream. His wife, Kate (Sally Field) is still waiting for their son Larry, who’s been missing in action for over three years since the end of WWII. Their cheerful younger son, Chris (Colin Morgan), has invited Annie (Jenna Coleman), Larry’s former girlfriend, to come back home for a visit. He has matrimonial intentions, which will duly upset Kate.
If that isn’t complicated enough, Annie’s father is in prison after a shipment of cracked cylinder heads caused 21 US pilots to die. He was working for big Joe at the time, who cheated prison. Then a blast from the past threatens to rip off the old band aids.
Director Jeremy Herrin has gone for a naturalistic approach and kept true to the times of post-war America. The set is such a simple rendition of middle America, it’s surprising that Joe is a wealthy factory owner. This family reeks of humour and humility, which they like to laud over their neighbours. It’s a pastel retro rendition of good ol’ America.
As we’re told in the intro, this is the script that set Arthur Miller’s star to rise. It was so good to enjoy dialogue that’s so well written; every line is rich in subtext and easy in its delivery. (Joe doesn’t like reading the papers for the news, only the classifieds to see what people want. A neighbour only reads the stars and is doing Larry’s chart for Kate.) The only obvious symbolism – the apple tree that broke in the night – is called out early. You’ll find the meaning in it all if you’re patient.
Bill Pullman plays Joe with a warm grin and self satisfied success. He explores the layers expertly, almost too languidly, and some of his delivery is garbled, but he embodies his archetype well. Sally Field is even better as Kate. She’s lovable, but not as naive as we think. Strident and vulnerable, she lives her character. Colin Morgan and Jenna Coleman are very enthusiastic but I wasn’t as convinced by their romance, but still felt their emotions. Some of the delivery feels big, but the Old Vic is at least three levels, but there are lots of subtle, natural actions. They’re all living their parts, especially Pullman and Fields. I wonder if all director Herrin had to do was sit back, yell ‘cut’ occasionally and enjoy the emotional ride, like the rest of us.
This is a play of its time but is just as relevant today. The breakdown of community; the worship of bloated, monied ‘gods’; the corruption below the pristine surface. Progress may have come to technology, but not in America’s moral arc, and there’s no better way to realise it than to enjoy a great play about likeably flawed characters, led by talented actors.
Con Nats – On The Screen
