Review: ALL MY SONS at The Lantern Theatre

ALL MY SONS by Arthur Miller is in my top five of favorite classic plays, so I was thrilled to hear that The Lantern Theatre was performing it May 9–17 in the St. Peter's Episcopal Church in Conway. Directed by Rachel McKee, the production honored Miller’s tightly-woven narrative and emotional complexity with a cast that brought a raw, honest intensity to every scene. 

From the moment the lights rose on the Keller family’s backyard, the audience was drawn into a world shaped by grief, denial, and a desperate need for redemption. McKee’s direction emphasized the moral weight of Miller’s script without ever tipping into melodrama. The staging was intimate, the pacing tight, and the emotional stakes palpable. 

Inspired by true events, All My Sons centers on Joe Keller (Brian Larsen), a prosperous businessman whose factory manufactured aircraft parts during the war. It eventually comes to light that the factory knowingly shipped defective cylinder heads, leading to the deaths of 21 pilots. While Joe avoided punishment, placing the blame on his business partner, Steve Deever, who was sent to prison, his exoneration masks a deeper guilt. 

The drama intensifies when Joe’s son, Chris (Max Churchwell), a war veteran, announces his intention to marry Ann Deever (Gabrielle Neafsey), Steve’s daughter. Their relationship stirs up long-buried tensions, particularly with Chris’s mother, Kate (Wendy Shirar), who remains convinced that her missing son Larry is still alive. For her, accepting the engagement would be accepting Larry’s death, something she cannot bear. 

The fragile balance is shattered with the arrival of Ann’s brother, George (Zachary Proctor), who has just visited their father in prison. Armed with new knowledge of Joe’s role in the scandal, George forces the Keller family to confront the painful truth, unraveling the web of denial.  

I loved this cast! They morphed so well into these roles that I didn’t recognize some of them immediately. I loved how the neighbors kept everything light for the most part. I don’t know if it was intentional, but they all seemed to be harboring knowledge of their neighbors and just went with it. Real-life couple Bob and Darby Lytle, playing Dr. Jim and Sue Bayliss, brought a natural chemistry to the stage that made their scenes feel wonderfully lived-in. Bob’s weary, quietly wise Jim contrasted perfectly with Darby’s sharp, no-nonsense Sue, adding depth to their dynamic and a dash of realism to the neighborhood’s social fabric. 

The same could be said for Paul and Lydia Lubey, played with a charming ease by Treece Ealy and Maggie McNeary whose presence offered warmth and just enough normalcy to underscore the unsettling undercurrents in the Keller household. Their characters, while seemingly peripheral, provided necessary breaths between the play’s more intense moments.  

And speaking of intensity, the drama between the Keller family and the Deever family built steadily until it finally exploded in a shattering climax. Every revelation added another layer of emotional weight, and you could feel the air shift in the room as long-buried truths came crashing to the surface. Max Churchwell’s Chris became increasingly impassioned and conflicted with each scene; his confrontation with Brian Larsen’s Joe Keller was a masterclass in controlled rage and heartbreak. 

Of course, watching Larsen’s Joe transform from the affable, easygoing man joking around with neighborhood boy Bert (Andrew Knudsen), to a father unraveling under the weight of his own guilt was both fascinating and devastating. His gradual loss of control, both over his family and the lies he built his life on, was portrayed with such nuance that the final moments hit like a gut punch.  

Gabrielle Neafsey’s Ann carried herself with quiet strength, and when her moment came to reveal the letter, the audience collectively held its breath. Her chemistry with the Keller family was layered and compelling—affectionate with Chris, cautiously respectful with Kate, and guarded yet firm with Joe. Neafsey brought a sweet dignity to the role, making Ann’s final stand not only believable but deeply affecting.   

My starry-heart eyes go to Wendy Shirar’s Kate, who had so carefully clung to denial throughout, delivered a gut-wrenching performance as her world collapsed around her. Passionate and powerful, she was the center of the world when she was in the scene. We held on to every word and every movement she made as she was trying to hold her family together.  

The final moments were devastating. Rachel McKee’s direction ensured that the emotional pacing hit every beat, and the cast handled the climax with such raw honesty that the silence following the last line was deafening. This performance sealed my love for this play, and I can’t wait to see what’s next. For more information on this talented troupe, visit their website at conwaylanterntheatre.org.

CREATIVE TEAM 

Directed by Rachel McKee 

Produced by Jeff Ward 

Stage Management by Vera Proctor 

Costumes by Morgan Flannagan and Atlee Lambert 

Props by Shannan Knudsen  

Photos by Elizabeth Fisher (enjoythejourneyphotography.com) 

Arkansas Awards - Live Stats

Best Musical - Top 3

1. CINDERELLA: THE BROADWAY VERSION (Arkansas State University Theatre)

12.5% of votes

2. THE WIZARD OF OZ (Arts One Presents)

12.3% of votes

3. TUCK EVERLASTING (Harding University Theatre)

10.1% of votes

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