Tag Archives: Arthur Miller
The theater is quiet as Savvy Scopelleti says the last line of Arthur Miller’s All My Sons. And then, for a few moments, no one moves. Finally, scripts are closed, chairs are adjusted, and deep breaths are taken.
It is the first read-through rehearsal for the cast of Intrepid’s Season Five opener, and even though it is also the first time this group of actors has come together, already there is an undeniable feeling of camaraderie here.
Already, it feels like family.
Christy Yael-Cox concludes the read-through with a few parting thoughts – about Miller, about wartime, about freedom from the past. The actors adjourn, minds and hearts full of Miller’s poignant dialogue.
“This play is so important and still so relevant today,” says Christy, “which is both sad and fascinating.”
Written on the heels of World War Two, All My Sons opened on Broadway in 1947 and put Arthur Miller on the map as a legitimate voice in American theatre. Inspired by a story he heard about a young woman from the Midwest who turned in her father for manufacturing and selling defective aircraft parts to the U.S. Army, All My Sons carefully navigates the aftermath of wartime through a handful of small town neighbors discovering that soldiers are not the only ones who bear battle scars.
“We tend to romanticize the past,” says Christy of this particular post-war era. “This play tells a different story, and Miller’s ability to craft the language to tell this story is just stunning.”
Arthur Miller’s personal experiences are also palpable in the telling of this story. Even though he never served in the war (he was rejected from the Army for a medical condition), Miller wrote amply in his memoir, Timebends, of his own disconnectedness to his society while battles were raging overseas.
“I was walking through the city in wartime feeling the inevitable unease of the survivor,” he writes. “The city I knew was incoherent, yet its throttled speech seemed to implore some significance for the sacrifices that drenched the papers every day.”
Eventually, this disconnect would manifest itself into the creation of a play. He describes himself during that time as “a stretched string waiting to be plucked, waiting, as it turned out, for All My Sons.”
The reception for the Broadway opening of the play was charged. While it received a New York Drama Critics Circle Award in 1947, citing its “frank and uncompromising presentation of a timely and important theme” and Miller’s “genuine instinct for the theater,” it was also banned by the Civil Affairs Division of the American Military Government from being presented overseas. Word was that Miller was accused of trying to attack American capitalism, which was a message that could not be exported in this particular era of anti-Communist intensity.
However, Miller’s extraordinary use of language and the honest portrayal of the world he creates in All My Sons has enabled the play to survive through and past the history into which it was born. Christy sees this universalism as a touchstone for Intrepid Shakespeare Company.
“The characters are relatable and realistic because they are so deeply and humanly flawed,” she says. ”In this way, the writing reminds me of Shakespeare. Shakespeare’s themes and the humanity behind his plays are still so resonant for us. This play is the same.”
“Also, it’s funny,” she adds. “There’s a lot of humor. It’s a very human thing, that even in crisis, we can find things to laugh about. Shakespeare understood that. And so did Miller.”
— Tiffany Tang
All My Sons plays March 27-April 20 at the Clayton E. Liggett Theater on the campus of San Dieguito Academy. 800 Santa Fe Drive, Encinitas.
Tickets can be purchased here.
“Everything that happened seems to be coming back.”
Kate Keller, who will be portrayed by Savvy Scopelleti in Monday night’s staged reading at the Encinitas Library, observes this in Act One of Arthur Miller’s All My Sons. It is a foreshadowing comment whose results will change her family entirely by the conclusion of the play.
It is this sense of unease that permeates this particular Miller tale. Written in 1947 on the heels of the war, the play analyzes the aftermath of war in our society within the context of the family. And just as Kate, the matriarch, understands that the past cannot truly be left behind, as the play unfolds, we see the characters navigating their way through relationships, hope, and ultimately their own battle scars.
“What’s so wonderful about Miller is that he writes about universal truths,” says Amanda Sitton, who will be portraying Ann Deever. “He writes about family and love. Unfortunately, the underlying theme of war isn’t something we get away from as a culture.”
While the families have been irreversibly affected by this period in American history, the unease in the play stems from their refusal to acknowledge the past or to fully deal with the consequences of their past actions. Therefore, while the story seems innocuous at first, the smooth veneer these characters have built over time slowly begins to crack.
In his essay, “Tragedy and the Common Man,” Miller wrote, “The revolutionary questioning of the stable environment is what terrifies.” The stable ground of patriarch Joe Keller, who will be played on Monday by Dale Morris, has been built on secrecy and denial, and it seems as if it is about to be shaken at any moment, thus releasing a domino effect of fallout.
“Miller is one of those faces on the Mount Rushmore of American theatre, so doing this show in any form has been a long-term goal,” says Dale, although he admits that he may harbor some judgment about the characters in the play. Indeed, none of the characters is truly free from critique, even though everyone seems to earnestly defend his or her own past decisions.
“It’s interesting how everyone in the play justifies their own actions,” says Brian Mackey, who will be portraying Chris Keller, the surviving son in his family who is intent on marrying his brother’s former love interest, Ann. “That’s what’s interesting, those decisions in a human life, those moments when you have to make a decision one way or the other and how that affects the people around you.”
“It’s rife with grey area,” observes Amanda. “There’s no true villain.”
Even though the play was written over 60 years ago, there are still echoes of today’s conflicts. Eddie Yaroch, who will be playing the next-door neighbor, Dr. Jim Bayliss, observes that decisions in our most recent wartime could have been similarly fraught with difficult or even negligent behavior, which is a major source of tension in All My Sons. “There was probably some similar guilt trips happening in the Defense Department that soldiers are dying because of their lack of initiative or funds,” he says.
Ben Cole, who will be portraying Frank Lubey and whose appearance on the scene often lightens the increasing moments of tension, says that each character in the play also carries their own sense of guilt about the war, which also prevents them from moving forward.
“Everyone has a great deal of denial about what actually happened and a great deal of guilt about maybe even surviving or getting off or escaping blame,” he says. “Frank avoided the war completely by being just too old for the draft.”
“Bert avoided the war by being way too young,” chimes in Eddie, referring to Christian Payne, 11, who will be portraying Bert, a neighborhood tattletale. When asked why his character feels the need to constantly announce the misdeeds of his friends, Christian replies with, “Well, he’s young. He’s eight, you know.”
Christian joins the cast for his first Intrepid project alongside what Director Christy Yael-Cox calls “a fantastically talented group of actors.” Also featured are Tom Hall as George Deever, Erin Petersen as Lydia Lubey, and Debra Wanger as Sue Bayliss.
— Tiffany Tang
All My Sons by Arthur Miller, a staged reading, will be held at the Encinitas Library, 540 Cornish Drive. Monday, October 28. 6:30 pm complimentary wine/appetizer reception. 7:00 pm reading. Please rsvp to email@example.com and pay with cash/check at the door or purchase tickets in advance. $15.
Wendy Waddell admits that she was rather unfamiliar with The Price by Arthur Miller when she was invited by Intrepid to direct the next reading in their year-long Staged Reading Series at Encinitas Library. Thankfully, she was not that intimidated by the assignment
“I think I said something like, ‘This is Arthur Miller! You’re giving me Arthur Miller to start with?!'” Wendy laughs as she recounts the request for her directorial debut with Intrepid, which will happen this Monday evening.
Intrepid’s confidence in Wendy’s skills is not misplaced. No matter how short and sweet staged reading rehearsals may be, Wendy is excited about bringing life to Miller’s work, especially since the play itself is somewhat obscure compared with his other offerings.
“It’s typical ‘Miller’ in that it’s a character study,” says Wendy. “In this case, it’s about two brothers who haven’t spoken in years. They come together because their childhood home is being torn down.” In light of that impending event, the brothers must deal with numerous items in the attic that are left over from earlier parts of their lives, and whether or not they will sell them, and for what price. Wendy notes that, in many ways, The Price parallels where we are now economically, with residual hardships from recent events.
“But of course, it’s Miller, so it’s not really about the price of the items,” elaborates Wendy. “It’s about the price of family, of honesty, of pride. What is the cost of not maintaining a relationship?”
This particular playwright turns up more than once in Intrepid’s Staged Reading Series queue, and it is interesting to note that while it is a more contemporary perspective than the traditional Shakespearean fare, Miller’s stories focus as much on language to tell the stories as the Bard.
“Miller is extremely rhythmic,” says Wendy. “There is a lyrical quality to his words and he’s not afraid of using language to make you dig for what is really going on in the scene. He makes you, as the audience, do a little work.”
But the actors aren’t off the hook. “It’s a wonderful challenge for the actors to start peeling away the layers of the onion,” she continues. “You, as the actor, get to create beautiful stuff through his words.”
The actors in question here are a talented group, including Jacob Bruce, Jack Missett, Dale Morris, and Julie Sachs. Wendy admits that casting was a challenge because the play calls for mature actors – all over 50, with one character described as 89.
“I’ve come up with a really good cast, so I’m really excited about that,” she says. “They are sickly talented and will bring their ‘A’ game.”
If there is any thought of a staged reading as being an easy way into directing for this company, Wendy is not entertaining it.
“This is not a well-known play like The Crucible, so there may be less expectations,” she says. “That might give me a little more leeway to interpret the script and clarify my vision for the rhythm, look, and feel of the play.” She also notes that while she admittedly feels “terrified and excited,” the chance to collaborate with Intrepid and with the actors makes everything worth it.
“I’ve had the chance to work with a lot of directors who challenge me,” says Wendy, who was seen last month as Rosencrantz in Intrepid’s Hamlet. “The more I work with them, the more I want to do that for other actors.” She pauses and then adds, “Besides, terror is exciting to me. That’s what makes me grow.” — T.T.
The Price, a staged reading, will be performed at The Encinitas Library, 540 Cornish Drive, Encinitas 92024 on Monday evening, March 25, 6:30 pm complimentary wine reception, 7:00 pm staged reading. Please RSVP to firstname.lastname@example.org or click here to purchase tickets in advance.