In a 2016 interview with The Guardian, Rose Byrne explained in detail the play that ‘took her breath away’. It was a production of Arthur Miller’s A View From The Bridge at Company B.
This gripping drama has electrified audiences around the world and for the first time in 12 years, Red Line Productions brought it to Sydney with a sell-out season at The Old Fitz last October. It received rave reviews and an impressive seven 2017 Sydney Theatre Award nominations and is now coming to Glen Street Theatre for one week only.
Combining the skill of award-winning Director Iain Sinclair (Of Mice and Men, All My Sons, Our Town) and a fearless cast including Anthony Gooley (Death Star PR, Packed to the Rafters), Lincoln Younes (Love Child, Home and Away, Tangle) and rising star Zoe Terakes, “this will be one of those rare occasions where an audience is staggering out of the theatre” says Red Line Artistic Director Andrew Henry.
“Presenting A View From The Bridge has been part of our company plan since we formed in 2014,” says Henry. “Securing the rights has been 3 years in the making. I am so proud that Red Line has the reputation to lock down titles like this, and having Iain Sinclair return to helm the production is the perfect combination.”
Italian-American immigrant life colours this searing drama of love and revenge set in 1950's Brooklyn. Eddie Carbone is devoted to his wife Beatrice and his niece Catherine. Then, Beatrice's cousins Marco and Rudolpho, having fled the poverty of Sicily, enter the US illegality desperate to find work. As Rudolpho and Catherine fall in love, Eddie's devotion to his niece is no longer touching, but terrifying.
"Excellent performances across the board in a production that keeps you on the edge of your seat. With its themes around immigration and acceptance, A View From The Bridge resonates powerfully. Unmissable."
Jo Litson, Daily Telegraph
"Stripped to its bare bones, this close-up and thrilling lucid staging of Arthur Miller's tragedy makes your heart race. I haven't experienced a more gripping night in a theatre this year."
Jason Blake, Sydney Morning Herald, 2017
"As the inevitable end encroaches, like a stampede in slow motion, the play tightens its grip. You feel your pupils dilate. Your skin starts to bristle. Your spine starts to shift.”