![]() ![]() ![]() They are Brooklyn longshoremen: Eddie (Mark Strong), a tall, sinewy, bald man, and Louis (Richard Hansell), who is younger and smaller. On it, two shirtless men are washing their arms, necks, and chests, shrouded in chiaroscuro lighting and steam. Offstage, one hears an undulating wave of Fauré’s “Requiem” the music plays softly at first, then louder as the drapery is lifted from the object, which turns out to be a partly glassed-in platform. As the houselights go down, the stage lights come up the ambience is pearly gray. ![]() Blanketed in dark fabric, it brings to mind one of Barnett Newman’s totemic sculptures. (The show, like the Signature Theatre Company’s current revival of the 1964 play “Incident at Vichy,” marks the centennial of Miller’s birth, to Jewish parents, in Harlem in 1915.) On entering the theatre, one sees, center stage, an enormous phallic object. For some time after I saw the director Ivo van Hove’s interpretation of Arthur Miller’s 1956 play “A View from the Bridge” (at the Lyceum), I found myself pondering the production’s graphic hysteria and homoeroticism. ![]()
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