Review: A View From The Bridge, Brighton Open Air Theatre (BOAT)

There is nowhere to hide at Brighton Open Air Theatre (BOAT), and that makes it the perfect setting for Arthur Miller’s A View from the Bridge. Under the blazing Brighton sun, Conor Baum’s production begins with warmth, community and the promise of a better life. Yet as the light fades, so does the illusion of safety. Secrets emerge, loyalties fracture, and one man’s increasingly desperate obsession begins to consume everyone around him.

Set in 1950s New York, the play follows Eddie Carbone, a hardworking longshoreman who opens his home to two Italian immigrants, Marco (Patrick McHugh) and Rodolpho (Joshua Hogan), arriving illegally in America. What begins as an act of generosity soon exposes the darker side of Eddie’s devotion to his family, setting in motion a tragedy that feels both inevitable and painfully avoidable.

Often described as Miller’s Greek tragedy, Baum embraces this comparison with confidence. Central to the production is the Lawyer, functioning as the modern-day Coryphaeus, the lead member of the Greek chorus who observes the action and offers a moral perspective. Sharon Drain is superb, alongside fellow chorus members David Samson and Benjamin Darlington. Their constant observation creates an ever-present sense of surveillance: even in silence, their presence reminds us that Eddie and those around him are being watched. Drain’s calming yet devastated delivery allows her to become lawyer, confidante, narrator and therapist simultaneously. She offers Eddie the advice he seeks while recognising the tragedy unfolding before her. 

Unfortunately, Natalie Moon, playing the role of Beatrice, appeared to be struggling with her voice during the performance, making her difficult to hear at times. Her quieter presence nevertheless provides an effective contrast to the fast-paced and somewhat ditzy Catherine, played by Lucy Chamberlain.

But it is Jamie Kenna as Eddie who steals the show. Kenna is magnetic, commanding the stage with a remarkably convincing New York accent and a performance packed with emotional depth. Eddie is a difficult character to play, loving yet controlling, protective yet possessive, convinced of his own righteousness while increasingly unable to distinguish between what is right and what he wants to be right. Keele captures these contradictions beautifully, bringing out Eddie’s jealousy, pride and struggle with masculinity without losing sight of the man beneath them.

The setting at Brighton Open Air Theatre is almost a character in itself. Surrounded by greenery with the sea visible in the distance, BOAT is a volunteer-run outdoor setting that gives the production an atmosphere an indoor theatre could never replicate. Birds, rustling trees and the occasional car horn become part of the soundscape. Even a swooping seagull attempting to steal an edible prop becomes a reminder that this is theatre without a fourth wall.

There are challenges, however. Projection occasionally suffers, particularly from further back, so sitting near the front is advisable. And while the blazing sunshine is glorious, bring a blanket for when the evening chill arrives. Baum’s minimal design uses wooden pallets and metal barrels to evoke the docks, while mahogany furniture and a vintage record player establish the period with ease. Sound design by Gary Sefton builds tension effectively, although a jazzed-up version of the James Bond theme feels unnecessarily gimmicky and jars with the play’s darker tone. The lighting (Bev Grover) is particularly effective: beginning in brilliant sunshine and ending beneath a dark night sky, the production’s visual transformation mirrors Eddie’s descent into darkness.

There is something fitting about experiencing A View from the Bridge in such an exposed environment. Miller’s play is ultimately about what happens when private desires become public, and secrets can no longer be contained. Here, the audience is exposed too. Baum draws out the tragedy, tension and moral complexity of Miller’s work with confidence, anchored by a captivating central performance from Jamie Kenna. A superb watch and a striking reminder of Miller’s genius.

Written by: Arthur Miller
Directed by: Conor Baum
Assistant Director/DSM: Faith McNeill
Movement and Fight Director: Gary Sefton
Lighting Designer: Bev Grover
Sound Designer: Gary Sefton
Costume Supervisor: Chully Mullock
Wardrobe Assistant: Sue Stuart
Intimacy Coordinator: Kim Wright

A View From The Bridge runs at BOAT until Saturday 8 August