View From The Bridge

'View From The Bridge' is a Knock-out

By Lisa Millegan
Modesto Bee Arts Writer

Unrestrained emotions translate into breathtaking theater in Stage 3’s “A View From The Bridge,” a drama set in the rough-and-tumble Brooklyn waterfront.

Stuart Pierce delivers a mesmerizing performance as Eddie Carbone, a doomed Italian-American longshoreman consumed with passion for his beautiful niece. One minute, he sends chills down your spine with his icy jealous stares while the next, he gains your pity with a desperate need for a love he never can have.

Under director Don Bilotti’s guidance, he and the outstanding supporting cast weave a compelling tale that is heartbreaking, agonizing and exciting. The explosive ending hits like a force of a hurricane and had Friday’s opening night audience on the edge of their seats. Cries of “Bravo!” and a standing ovation greeted the cast at curtain call.

Pulitzer Prize-winning playwright Arthur Miller based the play on a real-life story he heard from a friend. It debuted on Broadway as a one-act in 1955, with Miller revising it two years later into its current longer form.

The plot unfolds in flashbacks with Carbone family lawyer Alfieri (Doug Scott) serving as the narrator and commenting on the action. He gives the story mythological proportions, framing it as a timeless tale about the conflict between base instincts and society’s rules.

Eddie is a hard worker who has been a good provider for his wife Beatrice (Sarah Grimes-Emmons) and her orphaned niece Catherine (Colleen Dolan). He genuinely doesn’t understand the passion that, as the narrator puts it, “moved into his body, like a stranger.” When Catherine begins a romance with Rodolpho (Yancey Quiñones), one of two illegal immigrant brothers staying in the family apartment, Eddie no longer can contain his jealous feelings.

What makes the play more interesting is that Eddie is not the only character who lacks insight. His clueless niece is unaware of her sexual power and sees nothing wrong with parading around in her slip. Part of her doesn’t want to give up his attention. Beatrice is the only family member clear-sighted enough to see where such behavior will lead.

The play has an operatic feel, which director Bilotti skillfully emphasizes by incorporating highly emotional music, such as Carl Orff’s “Carmina Burana” as well as dramatic lighting (designed by Matthew Leamy).

Stage 3’s small performing space leaves limited options for sets but Denny Anderson and Chris Sutherst manage to fit in a lawyer’s office and Carbone’s dining room while leaving room for action on the street.

As mentioned earlier, all the actors do a fine job but some deserve special mention. Dolan makes a knockout Stage 3 debut, giving Catherine depth and making her more than an innocent victim. Grimes-Emmons is equally effective as much-abused Beatrice, conveying her common sense and unshaking loyalty to her family. Muscle-bound Brian Harrower delivers a riveting performance as Rodolpho’s older brother Marco.

But its Pierce’s performance you will best remember after you leave the theater. He fully inhabits his role as Eddie, making you forget that he is acting. His view into a tortured soul is as powerful as it is disturbing.

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