REVIEW: ‘Of Mice and Men’ finds James Franco in CliffsNotes mode (Richard Phibbs / Associated Press)
REVIEW: Annette Bening pays fine tribute in ‘Ruth Draper’s Monologues’ (Allen J. Schaben / Los Angeles Times)
REVIEW: ‘Bullets Over Broadway’ misses the bull’s-eye (Paul Kolnik)
REVIEW: Little drama in ‘Act One’; still, there’s some good theater (Joan Marcus / Lincoln Center Theater)
MORE: Bryan Cranston goes ‘All the Way’ from meth lab to Oval Office (Evgenia Eliseeva / Neil Simon Theatre)
The casting of the “Harry Potter” frontman as the psychologically disturbed stable boy caused a stir as the then 17-year-old would appear nude in one scene.
Radcliffe wowed critics and earned a Drama Desk nomination for his role. (Uli Weber / Associated Press)
While Taylor’s film career was waning, the limited run sold out the day it was announced. Taylor, then 49, earned a Tony nomination.
Taylor returned to Broadway, starring opposite Richard Burton, in “Private Lives.”
The show aimed to capitalize on the public’s fascination with couple’s off-stage relationship (Taylor and Burton had twice divorced before starring together on stage), but it closed after 63 performances. (Warner Home Video)
Turner played Maggie, a role recently reprised by Scarlett Johansson, and earned a Tony nod for her efforts.
In 2002, the actress took on the seductive role of Mrs. Robinson (pictured) in “The Graduate” opposite Jason Biggs and Alicia Silverstone. (Ari Mintz / Newsday)
“Ann,” also penned by Taylor, marked the Emmy-winning actress’ return to Broadway after three decades.
“I knew I had to get the persona, what made everybody so nuts for her, rather than the policy or the politics,” Taylor recently told The Times of bringing the late politician back in the spotlight. (The Hartman Group)
Times theater critic praised Midler’s performance in the one-woman show, writing that she was “galvanizing” in a role that “barely requires her to move anything but her mouth.”
But when the Tony nominations came around, Midler’s name was noticeably left off the list. (Richard Termine)
The two-person play, which cast the duo as a pair of cops, opened Sept. 29, 2009. (Joan Marcus / AP)
In some ways, Arthur Miller’s “A View from the Bridge” is more conventional than other Miller works.
“Death of a Salesman” and “All My Sons” dealt with the tragic underbelly of the American dream. “The Crucible” used the setting of the Salem Witch Trials to decry the McCarthy hearings.
Those plays ground obvious axes to a razor’s edge. First produced in the mid-1950s, “Bridge” is not as thematically obvious. However, in its current production at Pacific Resident Theatre, Miller’s durable drama retains the power to devastate.
The play’s protagonist, Eddie Carbone (Vince Melocchi), is an Italian American longshoreman who lives in a clean but shabby Brooklyn apartment, well-realized in Staci Walters and Jeffery P. Eisenmann’s set design, with his wife, Beatrice (Melissa Weber Bales) and their orphaned niece, Catherine (Lisa Cirincione).
Eddie’s avuncular interest in Catherine has gradually grown into incestuous obsession, an unwholesome interest he refuses to acknowledge, even to himself. When the Carbones take in Beatrice’s immigrant cousins, Marco (Satiar Pourvasei) and Rodolpho (Jeff Lorch), Rodolpho and Catherine fall in love -- a development that the increasingly possessive Eddie cannot tolerate.
Meanwhile the narrator of the piece, local attorney Alfieri (Robert Lesser), sadly recounts the disaster he was helpless to prevent.
It’s no wonder that the play has been adapted into opera form at least twice. Although modest in circumstance, its characters have epic emotions that are operatic in scale, while Eddie’s complicity in his own demise has all the elements of Greek tragedy.
The miracle of Miller is that his characters are so eloquently inarticulate. Co-directors Marilyn Fox and Dana Jackson get the blend of working class and Italian dialects just right -- the first but necessary step in their wrenchingly truthful staging that, while larger-than-life, never lapses into overstatement.
As for the actors, from Melocchi’s towering Eddie right down to the non-speaking bystanders, you simply won’t see any better.
“A View from the Bridge,” Pacific Resident Theatre, 703 Venice Blvd., Venice. 8 p.m. Thursdays-Saturdays, 3 p.m. Sundays. $20-$28. (310) 822-8392. www.pacificresidenttheatre.com. Running time: 2 hours, 20 minutes.