Jemima Levick's first production as artistic director of the Tron Theatre is a bold one. A View from the Bridge is a classic text, but one that consistently offers the opportunity for people to stand upon the shoulders of greatness and demonstrate just exactly what their vision is from that vantage point. To that end, what Levick has given us is classic theatre wrapped up in the context of a vision for the Tron.
The play has stood the test of time, and in her programme notes, Levick does refer to the fact that it feels just as fresh today as it did when it was first performed. Part of the reason for that is not just the quality of Miller's ability to craft a scene, but also the way in which he allows actors the opportunity to wear the language of the character as a cloak in which they are able to give their fashion to the audience.
To that extent, she has managed to put together a stellar cast, which allows us to see the experienced alongside an opportunity to see some fresher faces that they have taken with gusto. To that end, Michael Guest as Rodolfo, who I saw in Rumpelstiltskin at the Platform not that long ago, makes a fantastic character come alive. He is an effective foil for Mark Holgate's Eddie. Holly Howden Gilchrist as Catherine, who is still on her final year at the Royal Conservatoire, gives us the very naïve, childlike qualities that Catherine should possess, whilst at the same time, pushing against that, a full-blown woman about to explode.
At the beginning, there are moments when she seems a little too naïve. As time progresses, however, she develops into something more apposite in comparison to the very real danger that Holgate as Eddie possesses. As Marco, Reuben Joseph cuts about as a cultured Marco. His own naïveté, obliterated by the end of act 1 in a direct challenge to Eddie, is built upon well. In the second act, when his life is beginning to unravel and the anger is simmering, he festers and broods.
It is credit to the Royal Conservatoire of Scotland and Glasgow, Glasgow Clyde College, that they have provided a homegrown theatre with homegrown abilities at this level.
As Beatrice, Nicole Cooper finds the levels of anguish then anger present within Beatrice towards the end. Whilst some may have grown through the evening, both Alfieri (Nicholas Karimi) and Eddie (Mark Holgate) carry much of the narrative. They smoulder and shimmer throughout. Alfieri, our chorus, in commentary gives vent to the communal anger whilst also warning Eddie of his own dangers. What works well for Eddie is that Holgate recognises that at the heart of Eddie is still some form of humanity, a decent human being, which becomes corrupted because of his inability, whether through toxic masculinity or simply confusion, to see himself. Holgate gives us an Eddie who can draw the laughs, but at the same time, bring that tense nervousness we feel in the presence of a character who is verging on the edge.
Although it is a New York piece with New York passion, it does sometimes verge into shouting rather than finding the emotional contained within.
The container-like set provides a connection between then and now as it hints at the migrant process of today. That works well enough, whilst the costume and updating to the shell-suits does jar. The 1980s feel with the ghetto blaster whilst Rodolpho still references jazz jars further. We also lose Eddie's death at the end of his own knife. It removes the element of Eddie attempting to unfairly win his war, therefore Marco comes out more of a villain.
The soundscape from composer Claire Mackenzie is incredibly well judged. The building of the tension towards the end in particular is great. The design of the set by Alex Loud is very much in keeping with Miller's desire to make this feel claustrophobic, with a room above hanging like a threat. It reminded me of Happy and Biff's bedrooms hanging over the top of the house in Death of a Salesman, whether in homage or by simple coincidence. Lizzie Powell as lighting designer provides a very stylish backdrop and sense of dark and shade in keeping with the darkness of intent and violence from the narrative.
This is a tremendous piece of classic theatre which sets out the stall for Levick’s tenure well. The minor jarring aside, the blend of each element suggests that the Tron is on a pathway worth watching out for.