When the Great Depression cost his family their fortune, Victor Franz gave up his dream of an education to support his father. Three decades later, Victor has returned to his childhood home to sell the remainder of his parents' estate. His wife, his estranged brother, and the wily furniture dealer hired to appraise their possessions all arrive with their own agendas, forcing Victor to confront a question, long-stifled, about the value of his sacrifice.
One of the most personal plays by the consummate voice of the American everyman, Arthur Miller's The Price is a riveting story about the struggle to make peace with the past and create hope for the future. Steppenwolf co-founder Terry Kinney (reasons to be pretty) directs.
Ruffalo is likable, honest and direct, more plebeian than the other Victors I have seen (although I did not see Pat Hingle, who had already left the original production before I got there). Shalhoub, the former TV actor who has demonstrated his stage-worthiness with searing performances in Golden Boy and Act One, is a marvel as the successful brother. Walter almost sheens with success, on the surface; but the actor from the first allows us to see the depths that work beneath. Shalhoub can express his character's psychology by simply buttoning and unbuttoning his suit jacket; by play's end, he is gnawing at his fingernails.
I can see why 'The Price' isn't staged as frequently as the Miller classics. The second act spins into an exhausting cyclone of old slights and misunderstandings to justify the silences between siblings. Director Terry Kinney does his best to keep things reeled in, but some of the interaction between the brothers borders on tedious. 'The Price' is best described as dyspeptic. If you're looking for a hero or a villain, it's an irresolvable conundrum-you can find evidence that it's any of the four. That said, in the hands of a quartet as skilled as this, what we're left remembering finally is not Miller's art, but something of a master class in great performing.
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