Bedlam’s provocative production of The Crucible has a purpose — to urge us all to stand up and shout down the devils in our midst.
Fall’s conflict is presented with insufficient power; its domestic tragedy is not propelled along its inevitably troubling course.
Why has Bernard Weinraub chosen this secretive chapter of Miller’s life as fodder for his play?
Praxis Stage manages to get Arthur Miller’s message across, and it is a valuable one that must be repeated well beyond the inauguration.
The Library of America has done its part to applaud Arthur Miller’s 100th birthday with a handsome 3-volume set of his plays.
The New Repertory Theatre is paying homage to Arthur Miller’s centennial with a superb staging of one of the dramatist’s later works, Broken Glass.
Ibsen’s and Miller’s scientist hero must contend with denial, disbelief, ignorance, fear of change, malice, opportunism, greed, the abuse of power, censorship, betrayal, and violence. Sound familiar?
A lack of dramatic combustion sometimes makes the Lyric Stage Company production, despite its intelligent detail, more staidly melodramatic than it should be.
If this sounds like a melodrama, that is because Arthur Miller wrote one. “All My Sons” was very much a product of the dramatist’s times and politics.
The reviews of the Huntington Theatre Company (HTC) production were generally ecstatic. And what could be timelier than an oft-produced American drama that focuses on the tragic costs of war profiteering?