As a director, discuss how you would stage Page 10 - 12 to bring out your interpretation of it for an audience (Jan 2013 Exam).

‘A View from the Bridge’ is a 2-Act tragedy by Arthur Miller set in Brooklyn during the 1950’s exploring the peak of illegal immigrants into America. Miller developed his realistic play by adapting the original structure of Greek theatre by incorporating aspects of non-realistic features such as direct address from Alfieri acting as the chorus and giving the protagonist, Eddie Carbone, a fatal flaw, which in this case is his conflicted feelings towards his niece Catherine which may go past those of just a fatherly figure and more towards an admirer. Prior to this scene, we have been informed about the imminent arrival of Beatrice’s cousins; two Italian immigrants arriving in America in hope of a better life. Also, we have seen the existing relationship in the Carbone household and witnessed Eddie’s overprotectiveness of Catherine. In this scene I would want my audience to be torn between annoyance at Eddie’s overprotectiveness of Catherine and respect as we see he cars for her as if she was his own. At the time, the importance of family was paramount among the working-class families and the idea of Eddie’s family breaking up would trouble him deeply.

= This is where the scene takes place.

I would stage this play on a proscenium arch as throughout the play 3 different locations are needed. The proscenium arch can easily be changed into a composite stage using raised levels and lighting to distinguish clearly between the areas. The use of a composite stage

Scott Day

allows scene transitions to be quick and smooth; everything necessary is already on the stage in full sight keeping the pace of the performance steady and maintaining the atmosphere for the audience. For example, Alfieri opens the play speaking in his office followed on by Eddie passing across the walkway and into the apartment.

To help achieve my aims I would cast Eddie as a well-built Italian-American in his late 30’s with short brown hair and Catherine as a 17 year-old petite girl with light brown hair flowing down to her shoulders to emphasise her beauty and her innocence. As Eddie is returning from working on the docks he would be wearing a dirty white vest, brown trousers and working boots in keeping with the period. In contrast, Catherine would be dressed in a smart white blouse with a knee-length skirt as if experimenting with a new work outfit and also resembling the 1950’s New York fashion.

Eddie, Beatrice and Catherine are already on stead continuing on from the previous scene with Eddie sat in his rocker with Catherine and Beatrice stood by the table. Catherine would say with a matter-of-factly, “There’s nothing more to learn Eddie, I just got practice from now on” as she turns towards Beatrice asking for reassurance. Beatrice would nod comfortingly and would begin to recite, “Work is the best practice” before Eddie interjects forcefully, “That ain’t what I wanted, though” and stands up from his chair slowly to buy time to think of excuses he can use in his favour. Catherine would step towards Eddie with determination and ask, “Why! It’s a great big company-” She would be speaking with a tone of confusion in her voice and raise both hands in front of her excitedly when saying ‘big’ with her eyes wide in wonder to show her excitement at the opportunity she has been given. Eddie would interrupt again, “I don’t like the neighbourhood over there.” I would want him to slightly hold ‘I’ as he tries to think up of an excuse while shrugging his shoulders and furrowing his brow before looking away. Eddie constantly interrupting Catherine and making up excuses to her that he can’t justify would aggravate the audience as we see he doesn’t give Catherine a chance of freedom.

Regardless of Eddie’s dislike of the idea Catherine persists by saying with a naïve-enthusiasm, “But it’s fifty a week, Eddie.” Catherine would touch Eddie’s arm gently and look into his eyes as she smiles as the prospect of money. I would want Eddie to quickly take hold of Catherine’s hand and lower it while sighing in disbelief before saying calmly, “Look, did I ask you for money? I supported you this long I support you a little more.” Eddie would be talking slowly and smiling as he tries to reassure Catherine that she doesn’t need to work yet. During this Catherine would nod slowly and smile sadly before lowering her eyes away from Eddie. This scene shows the familiarity between Eddie as she knows when to continue with an argument or when to stop in response to Eddie’s actions. The audience start to see that Catherine thinks highly of Eddie as she she’s him as the fatherly figure in her life and respects him for it. The audience would start to admire Eddie as we see his caring nature and need to protect towards his family.

Scott Day

Beatrice would approach Catherine from behind and place a hand on her shoulder lovingly with a gentle smile on her face when saying affectionately, “Go, Baby, bring in the supper.” Once Catherine has gone behind the screen at the back of the raised platform I would have Beatrice face turn instantly to a frown as she swiftly turns around to Eddie who is now stood at the table, “She’s crazy to start work. It’s not a little shop, it’s a big company. Some day she could be a secretary.” Eddie would be silent with a sad expression on his face as he avoids Beatrice’s eye-contact by looking down at the floral table cloth and begins to finger the pattern. This would show his unease and uncomfortableness in the situation as he may be ruining Catherine’s dreams. I would have Eddie to look up to Beatrice sheepishly about to allow Catherine to work when suddenly a sickening thought comes to him at which he bolts upright and looks directly at Beatrice in worry, “I know that neighbourhood, B. I don’t like it.” He would be speaking rashly in a deep-authoritative tone and with one fist bang on the table in objection turning away from Beatrice. She would be a bit taken aback by the display of aggression before walking cautiously towards him while speaking reassuringly, “Listen, if nothin’ happened to her in this neighbourhood it ain’t gonna happen noplace else.” I would want her to turn his face towards her with her hands while smiling lovingly. Eddie’s stubbornness becomes apparent here and would anger the audience as Catherine’s desire to work is obvious.

Beatrice begins to get frustrated with Eddie as she blurts out loudly, “I don’t understand you; she’s seventeen years old.” I would direct her to walk away from Eddie boldly before spinning around rushed and question with eyes wide, “You gonna keep her in the house all her life?” She would bring one hand into the air and motion towards the back of the stage where Catherine exited. Eddie storms to Beatrice with a look of pain on his face as he was wounded by Beatrice’s previous comment, “What kinda remark is that?” He would spit the words out and speak with a tensed jaw. I would want him to hold one arm down by his side tensed in anger as if Beatrice had just insulted him. Standing her ground, Beatrice would explain with an insistent force, “Well I don’t understand when it ends.” She would speak with a sympathetic tone to her voice as she reaches out to Eddie’s tensed arm. As she touches him he would relax as he realise he overacted and misunderstood what she meant. This marks the beginning of the Eddie’s fatal flaw as the protagonist as we are introduced to his conflicted feelings for Catherine that may go beyond those of parenthood. This final section reveals Eddie’s possible temper when there is an issue concerning Catherine helping to make my audience dislike him as no-matter what he does he is not Catherine’s father and so doesn’t have the power over her that he wished.

Scott Day