Most People Ain't People: A View From the Bridge Review

Beatrice (Annie Parisse) and Eddie (Dominic Fumusa) in A View From the Bridge at Canal Dock Boathouse presented by Long Wharf Theatre

Long Wharf Theatre transforms New Haven’s Canal Dock Boat House for their run of Arthur Miller’s A View From the Bridge, directed by James Dean Palmer. What we see is a classic tale of hope and betrayal unfolding against the collaborative backdrop of set design and nature. The brilliance of the production is heightened by the choice of venue, and theatergoers are in for an incredible experience all around.

Narrated by Alfieri (Patricia Black), who serves as the family’s legal counsel, this story tackles themes of home, family, trust, honor, and masculinity under the overarching theme of immigration.

Eddie (Dominic Fumusa), a longshoreman and man of the house, finds himself put out when his wife Beatrice’s (Annie Parisse) cousin, Marco (Antonio Magro), and his brother Rodolpho (Mark Junek) illegally immigrate from Italy to New York to find work at the docks. Already somewhat inconvenienced when tasked with raising his niece Catherine (Paten Hughes), Eddie grapples with his role in his home when Rodolpho, the blonde-haired Italian sets his sights on what Eddie deems his — Catie.

Fumusa embodies heavy laden and hard working, the rasp in his voice layering his delivery with a weariness that commends Eddie’s daily laboring. Famusa’s decline from beloved patriarch to scorned antagonist and wrecking ball was masterfully executed, leaving audiences grappling with their distaste for him. Parisse, the one for whom our emotions make room, weaves us into Beatrice’s character, creating a connection that triggers our tear ducts at the  emotional breaking of her voice.

Hughes’ portrayal of a naive young woman with ambition convincingly comes alive in Catie, serving as the catalyst for the story’s unfolding. Junek is buoyant and comedic in his delivery. His Sicilian dialect light and hopeful against the rasp of Fumusa’s callousness. Marco’s strong, silent, and stoic demeanor is everything Eddie believes himself to be. Magro captures the essence of the hardworking, mission-focused, immigrant, emitting an air of loyalty and integrity.

The lighting design by Kate McGee is seamless, especially in collaboration with the natural lighting of the matinee. You-Shin Chen’s scenic design pairs immaculately with the view of the wharf beyond the glass walls of the boathouse—combining the intentionally wood-rich set with the natural elements of seagulls flying by, waves stirring in the wind, and even the American flag at full mast, flapping in the distance.

Jane Shaw’s sound design allows for flawless delivery both inside and outside the boathouse. Risa Ando’s costume designs reflect the essence of the 50s working class in Catie’s promise as a stenographer, Bea’s role as a homemaker, and Eddie’s look as a longshoreman. Ando’s designs even denotes the differences between the character archetypes— the patchwork on Marco’s work garb highlighting his indifference to his own needs as he works solely for the fulfillment of his family back home, all while Rodolpho wears his earnings.

With all the beauty abroad, what makes the American dream the force that has brought so many people for so many decades to our shores? Work. With this story, Miller asks and answers what the wonder of the American dream entails— “that’s the only wonder here—work.” Long Wharf Theatre’s production of A View From the Bridge is a stunning encapsulation of Miller’s unpacking of the American dream and a must-see for theatre lovers.

Be sure to catch A View From the Bridge before the run ends on March 10, 2024. For tickets, visit https://longwharf.org.