North Coast Repertory Theatre Welcomes Season 43 with Arthur Miller's "A View From the Bridge"

A Stupendously Written Play Full of Suspense and Jaw-Dropping Moments

A Blog View by Alejandra Enciso-Dardashti

If this first play of the season is what the rest will be like at North Coast Rep, get your salts ready...

 (L-R) Steve Froehlich, Matthew Salazar-Thompson, Lowell Byers, Coby Rogers, Frank Corrado, Marie Zolezzi, Richard Baird, Margot White. Photo by Aaron Rumley

Last weekend, the Solana Beach venue opened Arthur Miller's A View From the Bridge. The play, written in the mid-1950s, takes place around the same time in Brooklyn with Eddie (Richard Baird), an Italian-American dockworker married to Beatrice (Margot White). Alfieri (Frank Corrado), is a seasoned Brooklyn lawyer who is also the narrator in the play.

The couple raised Beatrice's orphaned niece Catherine (Marie Zolezzi) who is about to turn 18, is going to school, and will start a new job. Eddie is overly protective of Catherine, up to the point where he supervises what she wears, how she walks, and where she goes. Two of Beatrice's relatives, Marco (Lowell Byers) and Rodolpho (Coby Rogers) arrive from Italy to work at the docks and live in Eddie's house; Rodolpho takes fondness for Catherine and vice versa, while Eddie disapproves. Beatrice in the most subtle manner attempts to open Eddie's eyes and guide Catherine to a more grown-up, adult behavior to set boundaries. Then and there the patriarch figure starts behaving irrationally, becomes intense, and loses perspective. 

David Ellenstein's direction is straightforward having the actors deliver each fact and twist tightly weaved in by Miller, with strong performances that kept the audience glued to their seats. Frank Corrado's rendition of the keen and endearing lawyer is flawless with an eloquent and perfectly timed voice that graced the stage in each appearance, showing the seasoned performer he is. Marty Burnett's scenic design for this production is horizontal and goes all across the stage but is sectioned by the scenes. Ellenstein blocked Corrado's interventions to the corners of the stage while most of the plot unfolds in the middle, having a great balance for the audience to keep up with the happenings in addition to the curve balls. Matthew Novotny's lighting enhances this blocking and Ian Scott's sound design paces each thrilling moment. The interactions between Margot White and Richard Baird are raw while the ones with Marie Zolezzi as the naive Catherine, go from what would seem a normal bond, to straight-out bizarre. Zolezzi's rhythm and mannerisms like gripping or straightening her dress showed the character's innocence. Margot White takes her time while delivering the lines assessing each scene. Richard Baird who is a master of classic work, gave a full 180 both in appearance and performance, debuting a short mustache and shortcut to personify the erratic Eddie. 

Frank Corrado  - photo by Aaron Rumley

Lowell Byers as the Italian older brother Marco, is fierce and calculated mastering the looks, the accent, and the movement. Coby Rogers is light and juvenile truly embodying the personality of a bubbly, happy, young man. Steve Froehlich and Matthew Salazar-Thompson played different supporting roles rounding out the piece. The characters complimented their performances with Kevin Williams's props that went from tableware to alcohol bottles, to a payphone with rotary dial. That scene with the payphone had a life of its own as older generations would reminisce while the younger crowd just stared and wondered. 

Elisa Benzoni's costume design frames each character justly by using flowing light dresses with matching cardigans for Catherine while having Beatrice wear different pattern dresses with a longer length. The choice for the male characters starting with Eddie, shows the period clearly with high wasted pants and suspenders. Marco and Rodolpho Benzoni had different tailoring and combined patterns with materials, giving them a European flare.

A View From the Bridge perfectly illustrates great theatre with audiences gasping in unison while keeping the wow factor throughout the two hours. There is no still or gray moment.

This show is currently playing until October 13. For more information please CLICK HERE.