In
a couple of weeks the Day of German Unity will be celebrated... not on
the anniversary of the 1989 fall of the Berlin Wall, because that date,
November 9, is also the anniversary of the Nazis’
Kristallnacht
pogroms in 1938. The best of Arthur Miller’s late plays (dating from
1994) hinges on a related avoidance. Is the hysterical paralysis of
Brooklyn mortgage-broker’s wife Sylvia Gellburg a response to the
breaking news of that atrocity, to her husband Philip’s lack of concern
with it, to his denial of his Jewishness, or to the long sexlessness of
their marriage? Of course, it is a broth of all these factors, and so
Miller’s play cannot help being a little confused as well. The most
powerful scenes in the second act come when first Sylvia and then
Philip engage in intense, urgent duologues with the doctor treating
her, but their remarks – often, in fact, bewildered questions – seem
usually unconnected with each other’s, or, indeed, with each
character’s own preceding words.
Iqbal
Khan’s production, although largely recast since its Tricycle première
a year ago, was always a West End cert with Antony Sher in the central
role. His Philip Gellburg is wrapped tighter than a present from your
mum, repressed about his marriage and religion alike, about his role
both in the world and in the conjugal bed. This is one of Sher’s finest
performances, as the self-imposed bonds keeping him so constricted
twang under ever greater strain until they finally burst asunder. The
excellent Lucy Cohu is replaced as Sylvia by the even better Tara
Fitzgerald. I have remarked before how Fitzgerald has entered her prime
since outgrowing the “young beauty of the British screen” label; here,
her frustration is eloquent even though she is largely immobile in a
bed or at best a wheelchair throughout the play. Some of Sylvia’s
pent-up energies are released on Dr Hyman, a role in which Stanley
Townsend is well cast: burly, not quite conventionally handsome yet
magnetic.
Miller as a writer was always
more comfortable with articulation than evasion, so sometimes when he
cuts through the confusion he can lay matters out too baldly. But this
is a fine reminder that even in his late 70s, his sense of the vital
connections between the personal and the public was no less keen and
vital than in his heyday.
Written for the Financial
Times.