TSMS_All_My_Sons

//All My Sons// Critique Theresa Stratmann For their third production of the season the University Theatre presented Arthur Miller’s //All My Sons.// Typically a play rooted in realism, this production kept the realistic acting but moved towards theatricalism in its set design. A very emotionally demanding play, the actors struggled to find the emotional levels of the play, although eventually finding them at the end.

The first thing that sets //All My Sons// apart from the other productions is that it is produced on the main stage in the fine arts theatre. This stage is much bigger than the little Cellar Theatre. This means that 1) the set design can be more sophisticated but 2) the experience is less intimate and personal. The production did choose to create a very sophisticated yet simplistic set. Together the set and the large space were used to break away from realism to put more focus on the moral and familial struggles of the characters.

The audience comes becomes acquainted with the space from the moment they walk into the theatre because the set is in full view, no curtain is drawn. The stage, platforms, chairs, benches, and tables are all made of beautiful, reddish-brown wood. The stage is slanted, with stage right as the lowest point. There is a tree made of metal pipes. The house is represented in outlines – the outlines of the first and second story windows and door – all hanging over a porch. The porch is propped up on metal stands and so is the slanted stage. Together everything looked prim, polished, perfect, and even regal because of the beautiful wood used. An impressive set design, these choices clearly moved away from the realism this play is usually associated with. Yet in making this choice toward theatricalism the set did more than simply establishing location, it added symbolic imagery. For example, the slanted yet immaculate looking stage, it parallels how the family acts like everything is normal when in reality everything is going downhill. Then there’s the tree. It is made of metal pipes, metal like the machinery that has destroyed the family --- a highly ironic choice because the tree was planted for Larry who killed himself because of his father’s role in shipping out faulty airplane parts. We also have the house which the audience members can see right through, just like all the neighbors can see right through Joe’s lies. Not only does the set add symbolic imager but it also makes the audience approach the play differently. All the actors not involved in a scene are seen sitting in chairs “inside” the house in full view of the audience. A very theatrical approach, this makes the audience aware that they are watching a play. You are not asked to buy into the reality of the events before you, but to take them in and examine them. Instead of serving a purely entertainment function, the play becomes a lens through which to examine the many moral and family issues presented.

In contrast to the set design, the other production elements focused on realism. This is especially true for the costumes, which were very realistic and period appropriate. All the females wore dresses, Kate to go out wore gloves, and when working they have on aprons because at this time women were still the homemakers. The men were dressed in suits or business casual wear appropriate for a nice Sunday afternoon. The only character that stands out in costuming is Frank. He is dressed in a Hawaiian shirt and straw hat. Although weird it fits this character that has the odd job of designing Larry’s horoscope for Kate. Frank aside, everyone looks very put together, contrasting the fact that internally they are a mess trying to figure out the moral issues that came with Joe’s choice to ship off broken plane engines. Ironically they all look their best, dressed for a night out, when they all finally break down. This makes for a great visual versus verbal contrast in the final scenes.

The lighting, like the costuming, plays with that idea that appearances are deceiving. Since the play takes place on what is described as a lovely Sunday the lighting is bright and cheerful. This serves as a great contrast to the turmoil wracking the lives of the characters.

The music, instead of serving as a contrast, works to heighten and express the emotion of the characters. The little bit of music that is played at the end of scenes before scene changes reminded me of a lullaby, those soothing, calm notes meant to take away worry and stress. The Kellers are trying to soothe each other by believing in each other’s lies. Chris and Joe pretend to believe that Larry is not dead to keep Kate from breaking down. Chris and Ann look to each other for comfort and support. Kate tries to soothe her brother. The music seems to echo all these efforts.

Another subtle element to sound that I really enjoyed was the fact that they gave Kate real peas to snap and Joe a real apple to eat. Sitting in the third row, I probably heard these things while most didn’t, but it is little elements like this that really add to the realism of a play.

I found all the set design, costuming, lighting, and music well and aptly done. I found the acting the weakest part. I was not expecting this because whereas all other previous productions featured undergraduate and graduate students this production starred professional actor and UGA alumnus, Brian Reddy. I thought this would have immensely helped the other actors. Mr. Reddy played is role well and convincingly. Yet with the other actors it started out very flat. There were not sufficient levels of emotion. No one used body language, even as simple as hand gestures, to convey emotions. There was very little vertical or horizontal exploration in movement. For example, Kate’s little monologue in the beginning about her dream when the tree fell, the actress just stood there. She could have used her hands more, swayed, done anything except stand there and hope that the emotion in her voice would be all she needed. I understand that these characters have lots of pent up emotions that they cannot share, but when you’re under that much emotional tension little things slip – like in this monologue. You tend to overcompensate in other emotions to steer clear of your true feelings. In this way the characters use fake emotions a lot to hide their true feelings, but the acting came off as flat instead of like they were hiding emotions. Then there was that extremely fake and caustic conversation between Sue and Kate at the end. Yet they did not hit the fake tone and really make those words bite. That scene aside, as the play progressed the actors improved, especially after intermission and in the final scene. I guess it’s hard to find those different levels of emotions, especially since the play is building up to a climax and everyone must move toward that highest level of emotion. Those highest levels seem easier to play. It was the levels leading up to that which really caused problems. The actors were just too cautious, like they were scared to really believe and become their character.

Over all I thought that the mixing of realism and theatricalism worked very well in this production. The theatrical set design made the audience really focus on the characters and their moral choices while the realistic costumes and acting style gave the struggles the authenticity of the human experience. Therefore we could easily put ourselves in the character’s shoes and wonder how we would approach their problems. Although the acting could have been better, the experience was nonetheless enjoyable.