Performance Workshop Theatre stages Miller's 'A View From the Bridge'
Having created a cocoon to raise Catherine, his terribly enticing niece, Eddie simply can't bear the thought that she might break free someday. His ordinary world -- loyal wife, dependable job, close-knit community -- just wouldn't have enough going for it without Catherine in it.
The physically pure, but morally contaminated, arrangement that Eddie enjoys at home could not possible last, of course.
By the time an exotically handsome young man and his brother -- cousins of Eddie's wife -- arrive illegally from Italy, the Carbone household is already heading toward a crisis point. The presence of guests merely speeds it up a little.
Watching Eddie self-destruct is never pleasant, but ...
Performance Workshop Theatre provides a close-up experience in the company's welcoming home on Harford Road.
This organization, with roots extending back to 1976, offers several productions and educational activities each season. The "workshop" part of the title doesn't seem to me entirely helpful, suggesting as it does a not-quite-finished state. Be that as it may, there is nothing unfinished about this "View From the Bridge." It's one of the better efforts I've seen among Baltimore's non-Equity theater groups.
Co-artistic director Marlyn G. Robinson guides the action fluidly and, for the most part, tautly through Roy Steinman's compact, evocative set.
The company's other co-artistic director, Marc Horwitz, heads the cast as Eddie. He's a little too soft-spoken and deliberate at times, as if determined to conceal the character's emotional turmoil until the last possible moment. But the actor rises tellingly to the occasion when the plot turns the corner from drama to tragedy.
Stacy Downs does endearing work as the naive, openhearted Catherine. As Eddie's all too aware wife, Beatrice, Katherine Lyons gives a standout performance, as beautifully nuanced in voice as in gesture. And she's genuinely affecting at those terrible points in the play when the truth must be laid out coldly on the modestly covered table in the Carbone living room.
Christopher Kinslow doesn't look too convincing as a blond, but his colorful acting brings Rodolpho persuasively to life. Michael Donlan likewise fleshes out the role of Marco. With an admirably subtle, yet richly communicative, style, Michael Salconi makes a compelling Alfieri (Jonathan Dillard's lighting worked especially well for the breaking-of-the-fourth-wall segments).
All in all, the production effectively illuminates Miller's sobering view of the ever-fragile human condition.
PHOTO (by Katherine Lyons) COURTESY OF PERFORMANCE WORKSHOP THEATRE