A VIEW FROM THE BRIDGE at New Light Theatre

Review by Neal Newman

March l9, 2023

The New Light Theatre’s A VIEW FROM THE BRIDGE production is exemplary. Directed by Megan Bellwoar, Arthur Miller’s classic family tragedy comes to life in a tiny circle surrounded by an enwrapped audience. This simple in-the-round performance may lack the grandeur of past realistic Broadway stagings. Still, once the characters begin to reveal themselves, the lack of a kitchen table or sofa becomes irrelevant.

Eddie Carbone is the hero of a Greek tragedy. He is a good provider of a strong Italian family who works as a stevedore on the Brooklyn docks. He treats his wife’s sister’s child as his own. He has a tragic flaw that will soon involve the entire neighborhood and cumulate in the “Fall of the House of Carbone.”

Eddie’s flaw is that he is unconsciously in love with his niece Catherine. His wife, Beatrice, has the onerous task of explaining to Catherine that she is no longer a little girl and now a woman, and the house is becoming tense and unlivable. This is complicated by the arrival of two illegal immigrants from Italy searching for work. They secretly live in Eddie’s house, trying to avoid the immigration police. The older brother, Marco, is married and anxious to send money to his wife and invalid son. The younger brother Rodolpho is unattached and eager to experience the excitement of America. He and Catherine fall in love, which thrusts the Greek play into immovable conflict and destruction.

The small performing space allows the audience to experience the inarticulate confusion of the characters. Only the lawyer, Alfieri, who serves as the chorus, has the words and understanding to evaluate the situation for us. Bob Weick, in this role, skillfully explains to Eddie that his fear of Rodolfo’s being a passport-seeking homosexual is the result of his subliminal incestuous lust. John Jezior, as Eddie, subtly details the character’s confusion and growing anger as he cannot understand himself or his motives. Trice Baldwin-Browns, as Beatrice, is tormented as she tries to protect her niece and save her home. Elsa Kegelman as Catherine is convincing as a budding young woman experiencing her first romance in a secluded household. David Pica, as Marco, is a robust and masculine presence eager to defend his Italian code of honor. Rodolfo, played by Cameron DelGrosso, is a confused young man unsuited for working on the docks but could become a talented singer, tailor, or artist. The uncertainty of Rodolpho’s motives generates much of the first act’s tension. Is he only seeking that passport?

Director Bellwoar, who designed the efficient music and ambiance of the sound design, is effectively assisted by the costumes of Lena Muchetti, which firmly set the play in 1950s Brooklyn. The lighting of Dalton Whiting is appropriately subdued, as is the setting, which consists of one chair and a few crates and barrels. Special commendation must go to the dialect coach, Charlotte Northeast, who guides the actors to capture the rhythms of Miller’s Brooklyn dialogue and the immigrants’ inability to find the proper phrases in an unfamiliar language.

This is the third production directed by Megan Bellwoar that I have seen in as many months. A good director’s work should be invisible, but one can now make specific observations. First, she understands the plays she directs. Unlike many directors, she asks the vital questions “Who is this author, and why did he/she write this play? What is the theme?” Miller posits that a simple contemporary man might be a tragic figure. Secondly, she understands pace and structure. All of her plays evolve to an exciting climax. The second act of BRIDGE runs nearly an hour, but it seemed like 15 minutes here. Finally, she has “the words” that can excite actors about their roles, which will assist them in mining many of those hidden subtextual moments. Ms. Bellwoar, I am a fan.

Mention should also be made of New Light’s artistic director, Lena Mucchetti, who consistently partners with a worthy cause, in this case, RISE, Delaware’s only Jewish refugee resettlement agency. New Light performs an additional service by informing the community of its achievements.

AND NOW A PERSONAL NOTE:  When I began writing reviews for SHOW BUSINESS in the 1970s, I was criticized for the harshness of my observations. You can google my DC/METRO or STAGE reviews if you don’t believe me. Sometimes editors stepped in and rewrote sections to soften the blows. Since the end of the pandemic, I have delivered nearly total rave reviews. How is this possible? My friends tell me I haven’t changed. Did the unexpected two-year break give artists a chance to recharge? Or create an incredible love of the joy of finally encountering a live audience? If this is the beginning of a Philadelphia theater renaissance, please buy your tickets and enjoy it as I have.

RUNNING TIME:  Two hours and five minutes, including intermission.

MASKS ARE REQUIRED.

New Light Theatre presents A VIEW FROM THE BRIDGE through March 26^th at the Opera Delaware Black Box, 4 S. Poplar Street, Wilmington, DE. Tickets can be obtained at https://www.newlighttheatre.com Further information about RISE and its services can be found at www.jfsdelaware.org/refugee-services/