In the manner of Aeschylus, Sophocles’ Oedipus and the great tragedies of Henrik Ibsen, Arthur Miller’s All My Sons (1947) is a drama of retrospective analysis. Written and set in the wake of World War II, All My Sons, Miller’s earliest success, just two years before Death of a Salesman, depicts one tragic day in the life of the Keller family. When the play begins, most of the key events of the story have already taken place. The dramatic action on stage is an exploration and revelation of a past that shapes and weighs upon the tortured lives of the main characters.
All My Sons, currently playing at the Hamilton Murray Theater on the Princeton University campus, is the story of Joe Keller (Jordan Adelson) and his wife Kate (Uchechi Kalu). It takes place “in the outskirts of an American town” on a Sunday in August, 1946. Their son Larry, an air force pilot, has been Missing In Action for three years, but Kate cannot give up hope and let the family move on with its life. Joe, jailed three years earlier when his aircraft engine business issued damaged cylinder heads that resulted in the deaths of 21 pilots, has recently been exonerated, released, and returned home, where he lives with his wife and 32-year-old son Chris (Peter Giovine), who is back from military combat service in Europe.
Recently arrived and staying at the Kellers’ house is Annie (Nadia Diamond), formerly engaged to Larry and currently anticipating a proposal from Chris, who has been corresponding with her by mail over the past two years. Annie, who grew up next door to the Kellers and whose father was a partner with Joe in the aircraft engine manufacturing business and who is still serving time in the penitentiary, serves as a catalyst figure in the drama, forcing the family to confront the truths of Larry’s death, of Joe’s guilt, and of the necessity of moving forward with their lives.
Miller’s characterizations are deep, complex, and interesting. The plot, focused on the single day when the crises of the past emerge to engulf the Keller family, is carefully articulated and intense. And the issues here — ethical dilemmas of capitalism, corporate greed and its human consequences, family strife, dealing with loss — are universal, perhaps even more timely today than they were 65 years ago.
Unfortunately, however, although Theatre Intime, with a cast of 10 undergraduates under the capable direction of sophomore Oge Ude, does present a worthy production of this difficult work, the plot occasionally creaks, some dialogue seems forced, and the characterizations do not always ring true.
All My Sons is similar to Death of a Salesman, Miller’s next and most famous play, in many ways: characters, dramatic structure, theme and tragic impact. The plotting of the earlier play, however, seems more contrived, some dialogue less realistic, the monologues less gripping, and the parent-son relationships less emotionally gripping than those in the later play.
The young Intime company will certainly settle into its rhythm and its characterizations more fully in its second weekend, but opening night last Thursday revealed some difficulties in the realistic portrayal of both generations of troubled characters.
Mr. Adelson as the central figure is a fascinating picture of denial, attempting to elude, to rationalize the ugly truth of his past. “That’s business. That’s a mistake, but it ain’t murder.” Experienced and comfortable on stage, and well-rehearsed, Mr. Adelson delivers this brusque character with clarity and force, though the character stretch across 40 years and an unfathomable depth and darkness of life experience, at times proves daunting and makes this protagonist less than fully credible.
Ms. Kalu, facing similar challenges, succeeds in creating a convincing and sympathetic wife and mother, grasping and communicating Kate’s struggles to accept her son’s death, her husband’s guilt, and the necessity of burying her false hope and moving forward with her life.
Mr. Giovine’s Chris is uneven in his performance, though mostly appealing and intriguing in his anguished relationships with his father and mother, his haunting memories and survivor’s guilt from the war, and in his budding romance with his brother’s former girlfriend. As Ann, Ms. Diamond provides a worthy match for Chris and a welcome freshness and air of truth from outside the tortured Keller family.
Charlie Baker lends helpful support as Ann’s brother George, a lawyer, arriving in the second act with vital, devastating information just received from his father in prison. Nathalie Ellis-Einhorn as a meddling, troublesome neighbor; Evan Coles as her beleaguered husband; Blake Edwards and Tess Marchant as another, contrastingly upbeat neighboring couple; and the spirited young Adam LeCompte as a boy in the neighborhood — all provide capable, significant support to the principals in the first act, with less stage time in act two, as the drama narrows its focus to the Keller family.
Matt Seely’s sturdy, functional unit set depicting the Keller backyard, with symbolic apple trees (“Larry’s tree” is struck down in a storm just before the play opens.) and a small trellised arbor upstage is realistic, except for an expressionist touch on a stage right wall covered with newspapers, presumably the fateful newspapers from three years earlier that broadcast the crime and punishment of Joe Keller and his partner.
Lighting by Hannah Yang and Rebekah Shoemake and appropriate 1940s costumes by Joane Joseph effectively complement the actors and plot. Ms. Uge’s direction unifies the production elements effectively, moves the action along smoothly, and mostly sustains the audience’s interest in this, at times, long-winded drama.
“The tragic feeling is evoked in us when we are in the presence of a character who is ready to lay down his life, if need be, to secure one thing — his sense of personal dignity,” Arthur Miller wrote in his 1949 essay “Tragedy and the Common Man.” “From Orestes to Hamlet, Medea to Macbeth, the underlying struggle is that of the individual attempting to gain his ‘rightful’ position in his society.”
That is the struggle of Joe Keller and also of Willie Loman and of all the tragic protagonists of a cluster of other great plays written by this giant of the 20th century American Theater. In All My Sons the ambitious Intime company brings to life this classic tragic pattern of inevitable, shocking climax, followed by catharsis and restoration of the moral order with accompanying lessons for society.