The Conor Baum Company and Brighton Open Air Theatre present a gripping co-production of Arthur Miller’s 1955 New York take on Greek tragedy, in a packed amphitheatre curling with mist under the darkening sky.
And all feels very now, with ICE on the rampage, the stop the boat campaigns, and the debate around masculinity.
It’s a terrific blend of Baum’s direction, plus fight, movement and intimacy coordination, costume, setting, lighting and a soundscape of steamy jazz over New York waterfront sounds. And the performances are exemplary and perfectly cast.
Sharon Drain as lawyer Alfieri takes that view from a bridge throughout, looking down from above and commenting on what she sees, and what will inexorably happen; dipping into the action then returning to us as a coolly authoritative and observant Chorus.
Jamie Kenna’s Eddie gives a bullish powerhouse performance, a man who has so little and clings on desperately to what he has – respect and his good name. Lurching through the unknown, embarrassment and suspicion, his powerful boxing waterfront man’s all at sea when it comes to his own overwhelming and wrenching emotions. Kenna reveals the narrow borders of what masculinity is allowed to be in Eddie’s world, appalled and bemused by a boy who does not fit the mould.
As Beatrice, Natalie Moon gives a emotionally assured performance of a dedicated and loving careworn wife, at the end of her tether. Powerless, pleading and cracking with the strain of a life of dealing with him, what she can see happening – and what he refuses to acknowledge.
Into this life storm the next generation, all new ideas and demands for independence in a bemusing modern world.
As niece Catherine, Lucy Chamberlain brings mercurial energy and verve, her joie de vivre beating against the narrow constraints of upbringing, culture and patriarchy control.
Joshua Hogan’s Rodolpho is all sweetness, infectious happiness and angelic charm, afire with ambition – and of course, they’re captivated, ardent little looks and sparks from the moment they set eyes on each other.
Patrick McHugh’s Marco gives great contrast, initially as sensible elder brother and dutiful father resigned to a life away from his family, gentle, kind – and he too trapped in the old laws that will inevitably bring his surge into tragedy.
David Samson and Benjamin Darlington throw in sterling support as blokey colleagues, scene shifters – and finally a pair of immigration officers stalking the skyline at sunset, coats flapping, swooping to take their prey.
It’s often laugh out loud funny, especially Marco’s pensive ‘… no …’ and that contrasts with a bout of play fighting that swiftly gets out of hand, escalating to enraged explosions of physical violence, plus an intense scene of passion. These mood shifts are expertly handled, fuelling the action.
This is a theatrical Experience – and we’ve quickly come to expect that from the Conor Baum Company.
A last thought – one of the joys of open air theatre is the outside world insisting on playing, too, as an opportunistic seagull perches on the wall and the scenery to watch, before seeing its chance and snatching away some food from the stage. Full marks for dramatic comprehension, that bird.
Philippa Hammond
A View from the Bridge is at Brighton Open Air Theatre 5–8 August 2026.