Joe Keller’s wealth is a result of monumental sacrifice. Arthur Miller’s All My Sons is about the cost of money and the naivety that can come with human greed. Joe makes the decision to choose financial success over a clear conscience, thinking that his riches will be able to shield him from the damage that he causes. There is a willing ignorance at play in Joe’s story that many of us understand. We think that the pluses that come with money are powerful enough to contain the inevitable minuses, and it is that misguided optimism that brings about a series of calamitous consequences to Joe’s family and his neighbours.
It is intoxicating drama and a powerful moral that allows the play to maintain its resonance through the decades. Miller’s interrogation of the American dream (now international), along with themes of money, family and war, have not faded with time in their impact, in fact, our engagement with the ideas in All My Sons seem to be more intimate than ever. Soldiers once sent off to war in blazes of glory, are now seen as individuals we need to protect at all costs. Ideologies once used to justify deaths in battle, are now tainted with commerce, corruption and oil. Great riches from hard work have now exposed themselves to be hollow corporations trading in fraud. These very contemporary concerns are paired with classic melodramatic storytelling, for a masterpiece that still packs a wallop in 2016.
Kip Williams’ direction keeps focus on the play’s essence. Almost minimal in style, our attention is not to stray from its characters and dialogue. There are no bells and whistles to fill the vast auditorium, just a family drama that gets increasingly turbulent. Personalities are clearly defined, and relationships are dynamically formed. Williams sets the pace of the production at lightning speed to help ensure that tension is sustained, and that the audience remain engrossed. The intriguing qualities of Miller’s plot are perfectly engineered to keep us hooked on the story, but the venue’s size makes it a challenge communicating emotional intensity without performers having to perform at the extremes of their sentimental capacities. We follow every interchange that happens on stage yet our feelings become involved only when scenes become passionate.
The more energetic of the cast leave a greater impression. Chris Ryan’s ability to portray heightened agony gives the production its gravity, and the actor’s remarkably lucid depiction of his character Chris Keller’s loss of innocence, provides a soulfulness to the production, especially effective at its moving conclusion. Eryn Jean Norvill plays Ann Deever with great charm and an authentic complexity that adds surprising texture to the show. Norvill’s vocal and physical emulation of 1940’s American style is a delight, as is the vibrancy of her stage presence. In the role of Joe Keller is John Howard, imposing and confident, every bit the patriarch of the tale, but seems to fluctuate with concentration levels. Although powerful and nuanced, the actor has a tendency to be subsumed when action becomes frantic on stage. Young actor Jack Ruwald is memorable as Bert, lively and with a genuine sense of impulsiveness that is deeply endearing.
We cannot expect friends and family to be perfect, because every human is flawed. People will make mistakes, nonetheless how we forge ahead with them is the basis of how we live each day. The Kellers survive on love and lies, however, the two prove to be ultimately incompatible. Where there is love, truth must triumph, but the ugliness that surfaces stands every chance of dissolving what we hold precious. All My Sons might be about family, marriage, betrayal and deception, but it is fundamentally a cautionary tale of greed’s destructive nature. Forgiveness and understanding can mend many wounds in our relationships, even though the scars that are left behind are permanent and inescapable. Joe’s abominable sin cannot be undone, and its repercussions are tragic and endless.