Review of ALL MY SONS

[ColorTheHours048]

So, completely spur of the moment on September 20th, my boyfriend and I decided to rush "All My Sons" after rushing "Spring Awakening." I was going to wait and get great seats for Christmas possibly from my parents (being a basically broke college student and all), but I was dying to see it. So, we did just that.

The set is sparse, to say the least. The floor is a square of grass. On each side, the audience can see backstage since there are no curtains. There are also chain link fences on either side of the yard. The back wall is a wall of wooden plank that stretches into the rafters. There is a screen door placed stage left and decking next to it. And, downstage right in the corner, is the tree in overhead lighting. No set pieces but the tree. One might, at this point, be thinking, "Wtf?" Don't worry. So was I. My fears were assuaged.

The cast walked onstage with table and chairs for backyard setting. John Lithgow announced to turn off all cell phones, etc. and then went right into the production. The following is what happens:
"We are here for you today to perform Arthur Miller's play 'All My Sons.' The author sets our scene: 'The Keller family's backyard in the outskirts of an American town *cue projection of 'outskirts of American town' on wall*... our era. *cue projection* *blackout*'" An interesting beginning to the show. From there, the oft-mentioned storm is performed with admirable intensity, including the uprooting of the tree and an impressive amount of technical flair. It is in this moment that we realize just how mesmerizing and stunning this production is. In this opening moment.
I will not go into too much more explicit detail, so as not to ruin anything else for you. Simon McBurney has chosen, instead of presenting a literal imagining of the Keller home and neighborhood, to project the Keller home whenever someone enters or exits the house and to project the sky at it's time of day when the door is not being used. He also utilizes video projection from time to time to brilliant effect. (You'll see.) Of course, these choices do not hinder the production whatsoever. They merely enhance the intensity of this already rather intense play.

The performances here are spectacular. John Lithgow plays Joe Keller perfectly as a man so visibly crippled by guilt. It is truly amazing to see him perform. Patrick Wilson brings a great maturity to Chris Keller. The relationship between Joe and Chris is remarkable here, showing a very real and obviously understanding portrayal of a father and son at a turning point. The real test of these actors' abilities comes halfway through Act Two (end of Act Two in the written script) in a particularly visceral confrontation. It's a killer. Truly. But I don't want to spoil it. Katie Holmes is... surprisingly impressive. I'm not speaking from the place of someone who has never seen her work. I've seen her act quite a bit. I'm not a fan. But I found her to be very in touch with the character of Ann. She is especially good at Ann's most emotional moments. Act Two is where she truly comes alive. Anyone with doubts about her casting should see now why she was cast. Talent as much as ticket sales. Maybe more. The supporting cast is also very good. In particular, Lydia and Sue (played by Danielle Ferland and Becky Ann Baker, respectively). They make the most of two supporting roles and make them just as memorable as our four leads. Their husbands, Frank and Jim (Jordan Gelber and Damian Young) are somewhat less memorable, but only because they are written less memorably. They are both fine actors who fit in very well with the rest of the production. It is only Christian Camargo who doesn't fare quite as well as the rest. He begins just fine as George, but beigns to drift off into unchartered territory, it seems. He didn't seem entirely comfortable in George's skin yet (even finding it difficult to find a comfortable accent for the character). I'm sure, in time, he'll find the way to right his ship. It was, after all, only the third preview.
Now... Dianne Wiest. Holy mother of God. If this doesn't win her a Best Actress Tony, I'll make her one myself and present it to her. Sure, Amy Morton is giving the performance to see across the street. Yes, Patti LuPone is turning in one bitch of a performance a street over. But what everyone will and should be talking about in just a few weeks is Dianne Wiest. When I tell you she dives into the depths of Kate Keller's soul and embodies this woman, I mean it. And, in a way I never imagined Kate, she portrays her character in a domineering way that occasionally teeters on terrifying. This is not to say she loses sympathy. No no no no. Dianne makes it very clear through some brilliant character layering that she is this way because of guilt, rage, sadness, and loss. You pity her plight from the moment she begins to show her thoughts. It is a beautiful, heartbreaking performance. She absolutely runs away with the show. But that is not to say that the other performances aren't equally as pitch-perfect. It is with their help that she is even able to bring such emotion to her character.

I don't know what else there is to say about it. If there is anything you need to know, please don't hesitate to ask. I'd be glad to answer any questions. If you want to know what show to see, this is your ticket. Yes, it's still in previews, but don't waste another day. See it and see it again. It's the most powerful theatre experience of my life (and I've seen "August" twice). It's stunning. There is no better word for it. It's as close to flawless as a production gets. IN ONLY THE THIRD PREVIEW.

See it now!

[logan0215]

My interest is even further piqued.

How'd rush go? What time did you get there and how many people were there?

[Yankeefan007]

This production sounds too concept-driven.

[KQuill]

Aaron Lazar was there.

[BroadwayBoy2]

you have no idea how excited i am not for saturday!!!

ps. are they selling merch?

[Borstalboy]

I remember being very intrigued by the fact that Simon McBurney was directing, very curious if he was going to "do something with it". By what you wrote, it sounds like he did some interesting things...I'm actually excited to see this show now.

[Khashoggi]

"This production sounds too concept-driven."

Why don't you actually see it before you make a comment like that?

[ColorTheHours048]

logan0215 - Rush was not bad at all. It was a Saturday, but it was also only the third preview. So it's really no indication of what's to come. I got there at about 10:15 and rush started at 11. There were about 10 other people there. Not bad, but, again, not a tell-tale sign of future weeks.

YankeeFan007 - Yes, it's a very conceptual show, but it's not a "concept driven" production. Any interesting concepts that Mr. McBurney has established are used to staggering and powerful effect. It enhances the already marvelous writing and acting even more. Trust me on this one.

BroadwayBoy2 - I believe they are selling merchandise. I looked behind me during intermission and I saw hats and shirts on display in the back of the theatre. I did not personally go and check them out, but I'm almost positive they were there.

Borstalboy - He certainly "did something with it." He REVIVED it. He made it very relevant and current without changing time period or intention. This play is an important piece in times like this and the director makes excellent choices to make that clear. It's a stunning production.

[H.Higgins]

I am glad to see this production getting such positive notices from people on the board. (Especially for Ms. Wiest. She's an incredible actress.)

I'm curious about the director's concept. It sounds like he's using Brechtian techniques and I wouldn't have expected that for a production of an Arthur Miller piece. I'm intrigued.

[RentBoy86]

How is the back of the mezz at this theater? Can the full proscenium be seen?

[A Director]

The cast walked onstage with table and chairs for backyard setting. John Lithgow announced to turn off all cell phones, etc. and then went right into the production. The following is what happens:
"We are here for you today to perform Arthur Miller's play 'All My Sons.' The author sets our scene: 'The Keller family's backyard in the outskirts of an American town *cue projection of 'outskirts of American town' on wall*... our era. *cue projection* *blackout*'" An interesting beginning to the show. From there, the oft-mentioned storm is performed with admirable intensity, including the uprooting of the tree and an impressive amount of technical flair.

It sounds like the opening of "Our Town." Good thing they announce the author. I'm always confusing Miller's All My Sons, with Williams, O'Neill, Albee, or Neil Simon's All My Sons. Good thing they call it a play. Don't want to confuse the audience into thinking it's a musical.

How nice to see the uprooting of the tree. That's a nice Disney touch. Let's dumb down the production for the Broadway crowd.

I saw a wonderful production that didn't need a flashy concept.

[xxnewgirlxx]

Ohhhh didn't realize Becky Ann Baker was in it. She's my favorite TV mom.

[reporter1]

Hey all. I am a freelance journalist on assignment for WHO Magazine in Australia and trying to talk to anyone who attended the first All My Sons preview performance Sept. 18th. Can anyone help? My piece is due at the end of TODAY and I can be reached via email at [e-mail]. Thank you!

[AlgonquinProd2]

Very cool. Excellent report. I look forward to seeing it. Thanks!

[Mister Matt]

It sounds like the opening of "Our Town." Good thing they announce the author. I'm always confusing Miller's All My Sons, with Williams, O'Neill, Albee, or Neil Simon's All My Sons. Good thing they call it a play. Don't want to confuse the audience into thinking it's a musical.

Good thing the director didn't personalize the show strictly based on your personal preference.

How nice to see the uprooting of the tree. That's a nice Disney touch. Let's dumb down the production for the Broadway crowd.

Judgemental, pretentious AND closed-minded! You're a triple threat.

I saw a wonderful production that didn't need a flashy concept.

Congratulations. What a revelation. It has clearly allowed you to judge any other production of the play without ever having seen it. I am so jealous!

[Anna_Elizabeth]

I was thinking the same thing - that it seemed like the opening of 'Our Town,' but I am interested in seeing it now when I'm there in November.

[April Saul]

Hey, I just bought a ticket after I read your post! Can you tell me what the running time was? Thanks....

[Jon]

Well, since everybody knows Arthur Miller wrote it, maybe they shouldn't even bother listing his name in the Playbill.

[Mister Matt]

Well, since everybody knows Arthur Miller wrote it, maybe they shouldn't even bother listing his name in the Playbill.

Sounds like a flashy concept to me.

[perfectliar]

Since everyone knows they're going to see All My Sons, the cover of the Playbill should be blank.

[A Director]

Since everyone knows who's in the cast, that part of the Playbill should be blank!

[Patash]

LOL.

So the introduction makes it sound like one other play off hand (Our Town) as opposed to being like 34,549 other plays that start off with realistic sets and no introduction. Gee, how unoriginal. Why couldn't it be like the other 34,549 plays instead? No doubt, then the same naysayers would be saying "there was nothing new and different about this production". It's called the "you can't win with some people" problem.

[RentBoy86]

I thought the show was spectacular! I didn't try and student rush it - the show means more to me, so I figured I could splurge. Anyways, I thought what the director did with it was wonderful. It added a lot to the show, and it kept the show moving. All the underscoring, and the lighting, and the projections just helped the story telling, I think. Usually in a lengthy monologue (I.E. Equus), you tend to zone in and out of what the person is saying, but with the use of the projections, I became captivated. And, I love how they ended Act I, with the simple shutting of a door, and the sound effect. All the actors were great. I was impressed by each and everyone of them. They really threw themselves into the parts. I found Katie Holmes to be a little stiff, but that might be nerves, or a character choice? Either way, I thought she was great. I've always thought she was a great actress after seeing "Pieces of April." Anyways, I highly recommend this show. The show itself is brilliant. The script is wonderful, and the story is compelling. The "stars" only add to the mix, they don't subtract.

[ColorTheHours048]

April Saul - It's about 2 hours, 10 minutes. They also started about 10 minutes late. But it ran about 2:10.

Everyone who shot down the ignorance of "A Director": A nice, resounding LOL.

[RentBoy86]

Yeah, I felt like the time flew by, I didn't find the first act to drag at all, like some people said it did.