Classical Rendition of Miller's Greatest Play

“You want somethin’ else, Eddie, and you can never have her! “


Dominic West as Eddie Carbone (Photo: Johan Persson)

Arthur Miller’s A View from the Bridge is not only a classical American play from the 1950s, it has the ingredients and tension of a Greek drama.  Its origins lie in a tale told to Miller by a lawyer of a longshoreman who worked in the port and lived in Red Hook, Brooklyn, New York.  So his play is top and tailed by the lawyer Alfieri (Martin Marquez) who narrates the story. 

Eddie Carbone (Dominic West) is of Italian extraction, probably Sicillian,  who has settled legally in America with his wife Beatrice (Kate Fleetwood).  They have no children but Eddie’s sister has died leaving her daughter Catherine (Nia Towle) in their care. 

Two men, “submariners” as they are called, are expected to stay at the Carbones’ house.  They are Beatrice’s cousins, Marco (Pierro Niel-Mee) and his brother Rodolpho (Callum Scott Howells) and both have arrived in America illegally.  They are promised work because they need to repay the person, who has funded their journey from Sicily where there is no prospect of employment. 

Nia Towle as Catherine and Kate Fleetwood as Beatrice (Photo: Johan Persson)

Eddie cautions everyone not to confide that they have someone staying with them as the Immigration Board pays informers to find illegal migrants, and will deport them.  The problem is Eddie’s paternal relationship with Catherine because he is possessive and controlling.  He refuses to accept that she is no longer a child but able to work and make her own choices.

Dominic West is very powerful as the pater familias, refusing to acknowledge his own impotence difficulties with his wife and the incestuous sexual attraction he feels for his niece/daughter.  This problem might have raised its head anyhow but the catalyst is Rodolpho, the peroxide blond younger illegal, who seems unmanly to Eddie because of his manner and his liking to sing.  Eddie also criticises the way Rodolpho spends his first wages on clothes and shoes and records instead of sending money to Sicily to support his brother Marco’s malnourished children, at which point we can all agree with Eddie’s misgivings. 

The other red flag is the ease with which a proposed migrant can get a passport if he marries an American national. So when Rodolpho invites Catherine out on a date Eddie suspects his motives and his heterosexuality.  Catherine of course has no experience of a boyfriend and her sheltered existence has not equipped her for the real world. 

Pierri Niel-Mee as Marco and Callum Scott Howells as Rodolpho. (Photo: Johan Persson)

I found the performances of the women in this play to be exceptional with Kate Fleetwood having a real presence as Beatrice, in standing up to Eddie and in advising Catherine as to what she might want.  Nia Towle as Catherine is sweet natured.  She is obviously fond of Eddie but her care for him in offering to light his cigar is perceived by us, as full, not of innocence, but sexual inuendo which I believe she is not conscious of. 

Miller never decides for us whether Rodolpho is more motivated by the prospect of life in the States or in his affection for Catherine.  There is a scene when Catherine says she would like to be Rodolpho’s wife and live in beautiful Sicily with him and he is horrified.  In Lindsay Posner’s production, it is clear to me Rodolpho is fixated with access to work and life in America rather than caring for Catherine.

The unexpected aspect of the play is how far Eddie Carbone will go to cross the Italian community code of not reporting illegality to the authorities.  The loss for me at the end of the play is not Catherine’s likelihood of an unhappy marriage but of Marco and his children.

Dominic West as Eddie Carbone and Kate Fleetwood as Beatrice. (Photo: Johan Persson)

The very first time I saw A View from the Bridge, five productions and twenty five years ago, I was struck in the opening scene by the lyrical description of the dockyard setting from the lawyer Alfieri and Miller’s writing of this still impresses me.  Peter McKintosh’s set is the outside and inside of a plain wooden boarded house with just a dining table with matching chairs for Beatrice and Catherine to lay plates and flatware, and a rocking chair for Eddie Carbone to dictate from.

This is an excellent production; there are no cheap directorial flashes or innovative production thoughts but a solid study of a man flawed by his impotence and understanding of gender roles in 1950s Italian America.  This is a five star production from TheatreVibe, the site that doesn’t give stars.

Nia Towle as Catherine and Kate Fleetwood as Beatrice. (Photo: Johan Persson)

Production Notes

A View from the Bridge

Written  by Arthur Miller

Directed by Lindsay Posner



Dominic West

Kate Fleetwood

Martin Marquez

Pierro Niel-Mee

Callum Scott Howells

Nia Towle



Charlotte Palmer

Fed Zanni

Michael Cusick

Kieton Saunders-Browne

Rob Pomfret

Santino Smith

Michael Bijou

Jimmy Gladdon

Joseph Passafaro

Robyn Ellan Ashwood

Ryan Speakman


Director:  Lindsay Posner

Designer: Peter McKIntosh

Lighting Designer: Paul Pyant

Sound Designer: Gregory Clarke

Composer: Ed Lewis

Movement Director: Joanna Goodwin

Fight Director: Bret Yount


Running Time: Two hours 20 minutes including an interval

Booking to 3rd August 2024


Theatre Royal Haymarket

18 Suffolk Street

London SW1Y 4HT

Telephone: 020 7930 8800


Reviewed by Lizzie Loveridge at the

Theatre Royal Haymarket performance

on 4th June 2024

Martin Marques as Attorney Alfieru (Photo:Johan Persson)