American Dream Ends in Tragedy
“No-one comes back after three years.”
Chris

Arthur Miller’s play about an aircraft engine manufacturer is receiving at least its fifth revival in London since the millennium. The last one in 2019 had Sally Field and Bill Pullman in the two main roles of Kate and Joe Keller. This production’s interest is piqued not only by Bryan Cranston and Paapa Essiedu as Joe Keller and his son Chris but by director Ivo van Hove’s reputation for reinvention and innovation.
It is a play full of tragedy and secrets which I shall not disclose. This is the family situation. The opening scene is a full thunderstorm which fells a tree outside the Keller family home. The symbolism of this uprooted tree dominates the stage for the whole play in van Hove’s design collaborator Jan Versweyveld’s set. Insomniac Kate Keller (Marianne Jean-Baptiste) is awake. Her elder son Larry, a pilot, has been missing in action for three years and she refuses to consider that he might not be coming back.

Complicating his mother’s belief in Larry’s return, is that her younger son Chris (Paapa Essiedu) has been getting romantically close to Larry’s former fiancée Ann Deever (Hayley Squires). The elephant in the room is a criminal case when Joe Keller (Bryan Cranston) and his factory foreman Steve Deever had been accused of knowingly supplying cracked cylinder heads to the US Air Force. 21 pilots died from flying in planes with these defective engine parts. Joe Keller was cleared after he wasn’t at his factory that day, off sick, and Steve Deevers, Ann’s father, who took the blame is serving time in prison.
Arthur Miller’s story is based on a real life case of an Ohio manufacturer, Wright Aeronautical Corporation who had conspired with army investigators to pass defective aircraft parts. Joe Keller’s defence is that he did it for his family. Joe Keller was under pressure to produce the parts and thought the defects would be noticed later. If he had rejected the parts he would have defaulted on a time sensitive contract and his firm would have gone under. Chris is now in his father’s business and tells Ann that he will make them rich. So we have the American Dream of successful capitalism.
Dominating Versweyveld’s set apart from the fallen tree is a large circle in the backdrop, sometimes lit as a sun or a moon through which we can see one of the characters in the immediate Keller family. It is as though they are looking down on the action on stage, anonymously overhearing what is being said. Joe Keller is trying to protect his wife and her belief in Larry’s return and Ann being Larry’s girl. Van Hove’s production has a ’cello playing softly in the background throughout.

When Ann’s brother George Deever (Tom Glynn-Carney) arrives towards the end of the play, the house lights come on and we see a black hooded figure come through the auditorium to a sonorous ticking, as though signifying melodrama. There are songs by Johnny Cash and Leonard Cohen. Cohen’s song “Nevermind” concludes with its chillingly relevant lyric.
What is so different for me in van Hove’s interpretation is how important Chris is and how Paapa Essiedu almost becomes the main character, sidelining his father. Is it Essiedu’s acting as an innocent recipient of the sins of the father which does this? I have a huge respect for Bryan Cranston, not least for his willingness not to outshine the actor playing his younger son. Cranston’s performance is nuanced and subtle. Marianne Jean-Baptiste shows us a mother permanently hurting. The character I understand least is Ann Deever with her secret which should have given her a deeper understanding.
This is a fresh take on an oft-produced play and Theatrevibe, the site that doesn’t do stars awards it five stars.

Production Notes
All My Sons
Written by Arthur Miller
Directed by Ivo van Hove
Cast
Starring:
Paapa Essiedu
Bryan Cranston
Hayley Squires
Marianne Jean-Baptiste
Richard Hansell
Tom Glynn-Carney
Zach Wyatt
Aliyah Odoffin
Creatives
Director: Ivo van Hove
Set Designer and Lighting Designer: Jan Versweyveld
Costume Designer: An D’Huys
Fight Director: Kev McCurdy, Sam Lyon-Behan
Sound Director: Tom Gibbons
Information
Running Time: Two hours 10 minutes without an interval
Booking to 7th March 2026
Theatre:
Wyndhams Theatre
Charing Cross Road
London WC2H 0DA
Telehone: 0844 482 5151
Tube: Leicester Square
Telephone: 0344 871 7628
Website: https://allmysonsplay.com/
Reviewed by Lizzie Loveridge
at final preview on 20th November 2025

