‘A flawless production’, ‘an excellent piece of theatre’ and ‘astounding’ sang the critics, while many audience members seemed lost in the emotion of the devastating final act.
:: Read Edition’s review of All My Sons here ::
Based on a true story, the play centres on an American family living in the Midwest shortly after the end of World War II. Joe and Kate Keller are still grieving for the loss of their son, Larry, a pilot missing – presumed dead – during the war. But they have another son, Chris, and their lives seem comfortable and self-contained – until a series of revelations about Joe’s past brings their carefully constructed domestic world crashing down.
“All My Sons is fundamentally about a family living a big lie,” says director Michael Buffong. “And it’s about how this lie is suppressed and kept going and colluded with and what it means to various members of the family and the neighbourhood. The themes it touches on are those of loyalty, guilt and betrayal; the big themes that affect us all.”
Michael believes that this ability of Miller’s, to hold the mirror up to ourselves, is what makes this play a classic. When it first came out in 1947 Miller was on the verge of giving up as a playwright, but its huge success, for which he won his first Tony Award, encouraged Miller to continue. He subsequently became one of the great playwrights of the 20th century, giving us The Crucible and Death of a Salesman among others.
“The play has a timeless, universality to it,” said Michael. “We all have families and understand how family dynamics work, and I’m sure that in most cases there are secrets. The question at the centre of the piece is: would you do this for your family, or do we have a greater responsibility to the world family? Are we concentrating on our own houses rather than our neighbourhoods? This local drama is being played out against a big, political and social backdrop that makes it bigger than the domestic scene it appears to be about.”
Miller’s criticism in the play of the so-called ‘American Dream’ indirectly led to him being called before the House Un-American Activities Committee a few years later.
Says Michael: “He was a brave man – he said negative things about war just after there had been a war – and this play is about being brave,” said Michael. “He challenges the notion of the American Dream and we have to ask ourselves: what is the cost of this dream and is it ultimately worth it, especially with these theatres of war currently playing out all over the world. You do start thinking, ‘What are we fighting for,’ or ‘What are we defending?’ You do realise that war is a business and that’s terrifying.”
Revived for a national tour, in the centenary year of Arthur Miller’s birth, this production features many of the original cast including Doña Croll who received plaudits for her portrayal of the matriarch, Kate. Doña is joined by American actor Ray Shell who replaces Don Warrington as Joe and created the role of Rusty in the original production of Starlight Express.
“Ray is a phenomenal actor,” said Michael. “I’ve been waiting a long time to work with him again.”
“You don’t say ‘No’ to a part like Joe Keller,” says Ray. “This is the first play I have done of Arthur Miller’s so that fact and the fact I wanted to perform opposite Doña were plenty for me. Joe Keller is an ‘everyman’ figure. Every American has a dream, especially back then when war brought about the chance of money and opportunity. But he’s also a tragic figure. It’s tragic that if he had just taken one bit of Kate’s advice, as he had done in the past, he could have avoided what’s ahead.”
For Doña, Kate is simply one of the great female roles in modern theatre. “I can’t think of any of Miller’s other plays where there is such a good female part,” she admits. “Kate Keller is one of the great survivors and always reminds me of Scarlett O’Hara in Gone with the Wind who will survive by any means necessary. I like her stubbornness and her view of life which is ultimately optimistic. But it’s an emotional draining part to play as well as to watch. Every night in Manchester I could hear audience-members in the front row sniffing with emotion!”
With Talawa celebrating its 30th anniversary next year, Michael believes that this production is another dynamic statement of intent for the UK’s foremost black theatre company. “In taking on a big play like this and in going on a nationwide tour Talawa is showing it is here and it is strong,” he says. “Especially at this time when ‘diversity’ is such a buzz word, it would be great if people came to see what diverse work really looks like. We are a theatre company with a lot of interesting stuff to say.”
All My Sons, Cambridge Arts Theatre 24-28 February, 7.45pm. Tickets from £15.
