“I Want My Respect!” and a Transformed A View from the Bridge Production Estasblishes this Sentiment

Despite a flurry and onrush of emotions the last few weeks amid graduation, saying goodbye to a high school experience of so many close students, and now family, many topics still come to the surface from even further back through these last few months and personal experiences in and around Mexico.  Certainly it is taking me a little time to recollect my thoughts amid all this and have it come out properly.  But it is time to catch up, so here we go.

Immigration.  A topic that involves hearts souls, politics patriotism, and a topic I have seen from the working fields and plants of Delaware, to the lives of students in my classroom, to the struggles of students to further their education – to the neighborhoods of a country where immigration is seen through a different set of lenses.  In seeing the display Del Gulfo de Pacifico along Alvaro Obregon, a breathtaking and silent reverence to what immigration means between the countries of Mexico and the United States, one thinks comprehensively about what the topic of immigration means to those that embrace more than just the issue of citizenship, but one of lives.

In seeing the production Panorama Desde el Puente, (A View from the Bridge) from The National Theatre in London premiering in the Lunario on May 17th, 2015, you enter the with a  complete preset of ideas and thoughts.

Sometime it takes extremes to see a topic, issue, or a less than familiar story, and certainly Arthur’s Miller’s tragedy recreated on stage here is the prime example.  Mark Strong who plays a often controversial, diluted, and extreme in measure individual found in Eddie Carbone carries the viewer through so many emotions, one thinks they are viewing The Trials of Ezra Pound that was shown in  2001 at the Shakespeare Festival.   the production all over again.  Nicola Walker never misses a beat to add to the strain, stress, and conflict that brews inside Eddie and affect his wife Beatrice.

The beginning and the ending are so incredibly dramatic and unexpected, with the narration by Michael Gould’s Alfieri, similar to a character that befits Joe Peschi – you are carried through an unfolding story that haunts every border, every country, and fitting that with so many experiences we have had in New York that New York happened to be the setting I could relate to when viewing this production at the Young Vic.

I love when productions take non-traditional routes and this is no disappointment.  The dramatic is flung out at the audience in all the characters, Catherine played by Phoebe Fox that transforms in front of you with occasional accents that intrigue your curiosity, Marco (Emun Elliot) and Rodolfo (Luke Norris) that come to the stage and bring a calmness and a rebellion to a house of dynamite waiting to be set off, and the Oficial played by Padraig Lynch who lights the match – this production brings out other topics that are not inherently seen from the beginning.

Bart van den Eynde as director and interpretation brings viewers to the dark places that topics around us continue to swirl and develop.  When you are able to take a traditional well known knowledge of anything, be it a production, an idea, an issue, a work of art, or just a view, something in the form of a new education formulates.  Aside form countless other issues that emanate from this production, the ability of Bart van den Eynde that is felt from the beginning to the end, that ends in red on stage, internalizes the issue of immigration foremost, and other issues sure to develop after you see this spectacular production.  If you live for another experience that internalizes itself in your heart and conversation, then this is certainly a moment you want to not miss.

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About Harry Brake

Employee of ASF in Mexico City, Librarian, Media crazy! :)
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