A View From The Bridge Previews — Page 5

I saw it and didn't really care about the accents. Had a good time there. I was more concerned that Tovey didn't get naked.

OM Gosh, you guys. Did you SEE what David Cotes's Time Out review said: "(well-coached on their Brooklyn accents)"

They are flouting this board's ruling. They are just being contradictory for the sake of it!

Namo, I saw that and thought the same thing! How dare he!

Brantley just posted his review and it's a rave. Granted, the Times review doesn't really mean all that much, but as far as I'm concerned this production is astounding, and I'm thrilled to see van Hove finally starting to get the widespread acclaim (at least in America) that he deserves,

Has anyone tried the general rush for VIEW FROM THE BRIDGE? If so, where were you seated? Thanks.

I thought that this was a great production and feel especially fortunate to have witnessed Mark Strong's searing portrayal of Eddie Carbone. Just a quick not on the on-stage seats: I found Alfieri's opening monologue very difficult to hear....but, otherwise, they offer a perfect vantage point from which to view the production. Re: Incident at Vichy - thought that it was brilliant, it should transfer and that Richard Thomas is one of the finer performers working today. I also thought that he was remarkable in Camp David at Arena as well as in Twelve Angry Men.

The moral compass of the main characters is a woman.

Does anyone know if this will extend? Hoping to see it in March but as of now it's only playing through February.

HighFlyingAdored97 said: "The best part of the evening was finding out Bradley Cooper was in the audience."

I was front row, first seat toward the audience when I saw it, so I had a nice view of Anna Wintour watching the show.

Not if the accent police have any say.

Has anyone here seen the 1962 film adaptation? I would love to obtain a copy. It was directed by Sidney Lumet.

What I loved about Fox's Catherine is how attached she is to the familiarity of her existence, to remaining a child for Eddie and to keeping the Eddie that wants her to remain a child. I also loved her unique rough and gangly quality.

What didn't work for me was her accent, her poor enunciation (and I was also sitting on stage) and the way she played her confrontation scene with Rodolpho. It seemed fixed on whether she could trust that Rodolpho loved her or was convinced that he is merely using her. Sure there might well be some of that in the scene. But I don't think that's really what the scene needs to be about.

The two Rodolphos Catherine sees in that scene are not the one who loves and desires her and the one who is using her. But the one who can solve everything for her by taking her away from Eddie and Beatrice and the one who desperately needs her to solve everything for him by permitting him to stay with, or at least near the family. Catherine is at a crossroads of breaking with a family, Eddie and Beatrice, who are breaking her in two, and an Eddie who is emotionally incesting her; can Rodolpho help her to make that journey or does having him mean that she will never leave?

This is my only criticism of this great production (one more: I would have liked to have seen something clearer from Tovey during the kiss with Eddie... what it is could be many things, but something; I wasn't sure what he was seeing or feeling or thinking - which is not to suggest that Rodolpho is sure either, he probably isn't, but even the uncertainty which could be so rich was murky). I especially loved Nicola Walker's performance, the set and von Hove's exquisite shaping of Alfieri's presence and significance to the storytelling.

Updated On: 1/2/16 at 09:10 AM

Just got back and loved it --- although I do agree with a PP--- the drums do get annoying -

The end is hauntingly brilliant !