PLAYS: 'Bridge' - ritualistic, realistic
By GENELLE RICHARDS Kansan Staff Writer
Like a Greek tragedy, "A View From the Bridge" by Arthur Miller captures its audience and then takes them for a ritualistic and yet realistic ride through the tragedy and destruction of Eddie Carbone—the common man.
In the usual excellence of Miller, this play examines the "everyman" figure working and succeeding to destroy himself and those around him. Comparable to "Death of a Salesman," "A View From the Bridge" shows the audience how this man ruins his life and others through his inability to cope with himself.
The KU production of one of Miller's most outstanding plays is just like the play itself—outstanding. From the opening scene, the characters take the audience as prisoners and weave them through their parts in the play.
The characterizations of the actors are so well developed that one feels the pain and happiness of each of them. Consequently, the audience is able and willing to pour out its sympathy and joy when necessary.
One is totally wrapped up in the life of all these people and particularly the tragic hero—Eddie Carbone, played with perfection by G. J. Koellsted. He walks, talks, acts, lives and appears as a common longshoreman. Leaving his own personality backstage, Koellsted is so convincing in his character that one
feels every step he takes toward the destruction he brings on himself through the actual blows of another person.
Another equally good performance comes from Alfieri played by Bill Beecar. Acting as the Greek chorus, Beecar comments on the action of the play explaining events to his audience the way a Greek chorus commented on the action in drama of that time.
Other good performances are turned in by Carol Shriver as Beatrice; Cathy Elliott as Catherine; Steve Goodman as Marco; and Rick Daniels as Rodolpho. All of these actors demonstrate talent which is not satisfied with merely reciting lines.
The ensemble, prevalent throughout the entire play, brings forceful impact to dynamic scenes and brings tragedy to scenes where bits and pieces of human beings are torn away from all the characters and not only Eddie. While Eddie is the one to receive the final tragic blows, most of the characters also receive stinging blows—even the minor characters such as the one who loses a friend and the wife who loses a husband.
While the set is appropriate with a raked stage used for symbolic purposes, it may be the only fault, if there is one, in the production. Many of the average theatre-goers may not catch the meaning of the stage and therefore may miss out on an important underlying meaning of the play.
The directing of B. J. Myers proves outstanding too. She takes the talent of the actors and creates an almost faultless production. Everything is excellent. If there is anything wrong it is not acting, directing costumes, lines, characters, lights or sets.
The production is a treat, for it gives the audience a fine example
BOOKS
"A View From the Bridge" runs through Dec. 19 and from Jan. 6 to 10 in the Experimental Theater.
NINE TOMORROWS, by Isaac Asimov (Crest, 75 cents)—A collection of science fiction by one of the best practitioners in the genre.
...
of good tragedy and while it does not make you leave the theater laughing and rejoicing, it makes you leave feeling as though you had been thoroughly entertained with high tragedy.
YOURE A BRAVE MAN,
CHARLIE BROWN, by Charles
M. Schultz (Crest, 50 cents)—A new collection of Peanuts, in time to become a stocking-stuffer for the holidays (and this review will hit the Kansan in February, in time for Washington's birthday).
Shows 7:00 - 9:30
Adults $1.50—Child 75c
THE HILLCREST
THE WEST PATTERN INN & SPA
Dec. 16
1969 KANSAN 5
RANDY'S RANCH RANDY'S RA