All My Sons Poster for the Apollo Theatre
On Thursday evening I went to see Arthur Miller’s play All My Sons at the Apollo Theatre. Not to boast too much—I’m sure most people are tired of hearing about it—but three others and I purchased box seats in the theatre for only £10 each. We had to wake up early to queue for two hours in the bitter cold before the box office opened at 10am. It was definitely well worth feeling frozen for the rest of the day in order to see the play that evening.
I’m familiar with two of Arthur Miller’s other plays, Death of a Salesman and The Crucible, but knew nothing whatsoever about All My Sons. The play itself was very enjoyable—natural, uncomplicated lines presented by seemingly simple characters. Without examining the acting itself, the play’s deeper meanings and the presentation and development of them was brilliant. However, I’m no qualified theatre critic, so I’ll stick to sharing my reaction to the adaptation I saw.
The Apollo Theatre itself is a “Grade II listed West End Theatre, on Shaftesbury Avenue in the City of Westminster” and was built in 1901 (cited in above link). It’s a traditional theatre in that it has a large main stage with a cozy gallery of seats located on its ground floor, two upper balconies and side box seats. The audience for Thursday’s performance was mature. I would say most of the viewers were in their sixties. Us four Dickinsonians were definitely the youngest box seat ticket holders. The playwright Arthur Miller was, after all, very popular throughout the 1940s, ‘50s, and early ‘60s, so the maturity of the audience made sense.
In regards to where I sat in the theatre, the box felt like it was almost hovering over the stage. My view was somewhat restricted, but never before did I have the opportunity to see the actors’ facial expressions and gesticulations in such detail! Moreover, the setting—which included a real grass floor, an abundance of vegetation, and the front of a country house—could also be seen in great detail. Altogether, I was able to watch an incredible play and truly be a part of the scene.
Main cast members of Arthur Miller’s Play
In All My Sons I was blown away by the two main actors’ performances. David Suchet’s reenactment of Joe and Zoë Wanamaker’s interpretation of Kate were absolutely extraordinary. For one, Suchet portrayed Joe’s sudden emotional changes flawlessly and with ease. One moment he could be furious, the mood convincingly illustrated in every corporeal and facial expression, and suddenly he would become vulnerable and distraught with tears streaming down his face. To me, the only negative aspects of the show were: the supporting cast’s American accents slipping at times (something I actually found amusing) and the set’s peculiar depiction of the Ohio countryside as looking more like the Louisiana bayou.
In the end though, All My Sons far exceeded the other theatre productions I’ve seen in London. Shakespeare’s Merry Wives of Windsor is still a favourite, especially since it was my first experience in the Globe Theatre. Bedlam, also in the Globe, was enjoyable only because of the jokes I shared with fellow classmates afterwards. I did love Les Misérables with its brilliant lighting, impressive set design, and Éponine’s angelic voice, but I wasn’t blown away by the performance (it did not help that my seat was in the uppermost balcony). 39 Steps was innovative and entertaining, but I found the slapstick humour dull after a while. The Habit of Art forced me to consider deeper, more intellectual ideas but was not the most well written play, I think. All in all, I have thoroughly enjoyed my theatre experience in London—although I would love to see some dance while I’m still here in England—and have appreciated every play and musical I have seen thus far.
If you haven’t see All My Sons yet, please do, and share your thoughts!
Patrick and Matt at the play All My Sons (personal photo)
