Ivo van Hove’s stark Broadway revival of A View From the Bridge keeps you on edge until its bloody climax and finally leaves you exhilarated and gasping for breath.
First seen in London two years ago, the stripped-down, tightly focused production of Arthur Miller’s 1955 tragic drama — about a Brooklyn longshoreman whose obsession with his niece brings devastation to his home and community — is currently playing at the Lyceum Theatre. It won Olivier awards in London for best revival and best director as well as a best actor award for its lead actor, Mark Strong, who reprises his role on Broadway.
Van Hove is no stranger to New York. His reexaminations of classic texts, often controversial, have been staged regularly Off-Broadway since the late 1990s. His most recent production was Lazarus — a new work by David Bowie and playwright Enda Walsh, which sold out its entire run in a matter of hours. A View From the Bridge marks his debut on Broadway.
“Broadway is like a mythical place,” explains the Amsterdam-based Belgian director. “As a young boy growing up in Europe, when I wanted to be a director, Broadway seemed like the biggest dream. The lucky thing is that I came here with a production that I was totally satisfied with, and something that I deeply loved.”
The great success of van Hove’s production of A View From the Bridge on both sides of the Atlantic augurs well for this birth centennial of the great American playwright. A week after View ends its limited run in New York, van Hove will return to Broadway with a second Miller revival: a new production of The Crucible, featuring a stellar cast that includes Ben Whishaw, Sophie Okonedo, Saoirse Ronan, and Ciarán Hinds, which begins performances at the Walter Kerr Theatre February 29.
Until now, the American playwright in whom van Hove has professed the most interest has been Eugene O’Neill; van Hove has frequently directed his work both here and in Europe. The director says he was initially reluctant to take on his first Miller play: He had to be prodded into it by his artistic collaborator and life partner of 35 years, scenic and lighting designer Jan Versweyveld. “I admit now very publicly that I was totally wrong about Miller,” he says. “I always thought that his plays were a little too politically correct about good and evil. Jan pushed me to read and think about A View From the Bridge again, and I discovered this very rich, layered play. Now I am preparing The Crucible and it’s the same — it’s a mixture of very ambivalent feelings when you read it. Arthur Miller is my new American hero!”
The key to van Hove’s production of View was Miller’s comment that he wanted to write a contemporary Greek tragedy based on a story he had heard about an incident that took place in the Italian community of Red Hook, Brooklyn. “It starts a little bit like a domestic drama but it becomes this huge tragedy,” notes van Hove. “But if you just get the scenes of naturalism on stage, it takes us a little bit away from the central catastrophe.”
To serve the elemental aspects of Miller’s drama, van Hove stages the play on a bare, white rectangular platform bounded by a low Plexiglass ledge. “It’s a kind of house — the footprint, almost the ruin, of a house,” says the director. One of designer Versweyveld’s influences, van Hove explains, was a common memory from childhood: “Jan remembered that first time as a young boy when he lifted a rock and discovered all the insects crawling underneath. We all want to know what is underneath. And when you put the stone back, it is gone again.” Seating some members of the audience onstage, in tiers on either side of the boxing-ring-like playing area, not only evokes the feeling of a Greek amphitheater (the rest of the audience is conventionally seated in the auditorium), it also heightens the intensity of the action, says van Hove. “It is very near to the actors so it becomes very voyeuristic — it becomes like a community looking at themselves.”
The impulse to look under the stone seems to inform a good part of van Hove and Versweyveld’s artistic collaboration in general as well. “Our ambition is always to try to bring a text to stage in the most extreme way possible, so that it is revealed in its total truth,” says van Hove. This approach has led to some eyebrow-raising stagecraft in some previous van Hove productions: live video following actors outside the auditorium in The Misanthrope, or the notorious bathtub that featured prominently in A Streetcar Named Desire, both produced in New York. Most famously, he brought live cows on stage in his Dutch production of O’Neill’s Desire Under the Elms. But the director firmly dismisses those who would label him as a provocateur. “That is never my intention because I am far too serious in my life,” he responds. “I live my life only once; just to be provocative would be very superficial for me.”
“It always starts from the text, for both Jan and me,” van Hove continues. “We not only read the dialog but we read the stage directions very carefully. Eugene O’Neill writes long stage directions, and I love them. But we don’t do them literally. You know, authors like Tennessee Williams and Arthur Miller were innovators in their time, in the 1940s and 1950s — not only in the themes that they dealt with but also by their stage directions. But if you do those stage directions these days, they become very old-fashioned. I think a director now has the obligation to — and should — reinvent those stage directions for our time and make them innovative today.”
Noting the contemporary resonance of the two plays he is directing, van Hove says, “The issue of immigration is one of the major themes in A View From the Bridge. That’s important not only in Europe, but I have followed it in the Republican debates as well. And in The Crucible, there is this mass hysteria, which comes from some very personal and economic reasons. It is not always from the religious reasons that they pretend it to be. You have a society that lives according to very strict rules and people who want to get out of it. You see this all over the world at this moment.”
The Crucible was based on Miller’s research into a rash of incidents in 17th century Salem, Massachusetts, when several women were put to death after being accused of witchcraft. The play, which Miller wrote in 1953, is viewed as an allegory of Senator Joseph McCarthy’s anti-Communist “witch hunts” that were in full swing at the time. Miller himself refused to name names at the committee hearings, but his close friend Elia Kazan became a friendly witness. “Of course, for Miller it was a very personal thing. Everybody knows that — well, my generation knows it, I am 57 now — but that’s not a good reason to do the play today. The strength of Arthur Miller is that he was capable of making something that was very personal to him at the moment into something that is universally important even now, over 60 years later.”
“He writes about wanting to be a part of a society. That’s always what is at stake for him,” the director continues. “There is a fabulous line in A View From the Bridge, but also in The Crucible: ‘I want my name.’ You don’t want to lose your public identity. People make fatal mistakes in their private life, and that influences their political lives and ambitions.”
When we spoke, van Hove had yet to commence rehearsals proper for The Crucible and he wasn’t ready to talk specifics about the upcoming production. But you can bet you won’t be seeing reproductions of 17th century New England costumes and settings. “I’ve never done a historical production, so, no. It is difficult to talk about because it is very abstract,” he adds. “The music is by Philip Glass, who has worked a lot in the theater. He looks at the text and he inspires himself of the time when it was written, but he makes his own music out of it. That’s the same way I work.”
We can perhaps glean a clue to what particularly interests van Hove in The Crucible when he talks about the character Abigail, the 17-year-old who leads a group of girls to testify against the alleged witches in the community; she also has had an illicit affair with John Proctor, the man who stands at the moral center of the story. “She is a very interesting character because, of course, she creates this whole mass hysteria, but she is also a girl in a society that doesn’t allow young girls to be themselves,” notes van Hove. “Abigail feels that in her relationship with Proctor she was totally respected as a young woman. And then it becomes interesting for me — not just that she wants to destroy the wife of Proctor, which she does at the end, but because there is a very strong psychological reason to do that. And there is Proctor: He wants to be the most virtuous man in the world, but he has this passion for this girl, which he doesn’t want to allow himself to have. That is already a very complicated emotional situation. Arthur Miller’s characters are not one-sided. Even the small parts are always complex. He really knows what the actors need, I can tell you.”
Even if he doesn’t exactly know where his rehearsals will take him at this point, van Hove is certain of one thing: “I would like to create a night in the theatre they will never forget,” he says. Acknowledging that A View From the Bridge and The Crucible are constructed very differently, he adds that he will have to build “a different kind of energy” for The Crucible. “It is not only about one man, John Proctor. This play is a tragedy about a whole community that really has to look into the mirror and use this crisis to come to terms with itself. That’s what I want to achieve: that you are in the middle of this community and you feel deeply connected with it. It is not a story from a long time ago, somewhere in the 17th century, or in the time of McCarthy. It is happening now. And you are part of it.”
Privacy Policy
Last updated and effective as of January 14, 2019
Introduction and Your Acceptance of These Terms
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Information We Collect
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We comply with the Self-Regulatory Principles for Online Behavioral Advertising set forth by the Digital Advertising Alliance (DAA). You can opt-out of targeted advertising from certain providers at www.aboutads.info/consumers.
How We Use Your Personal Information
The personal information We collect allows Us to keep you posted on updates to Broadway Direct. It also helps Us to improve Our services, content, and advertising. If you don’t want to be on Our email list, you can opt out anytime by clicking the “unsubscribe” button or sending an unsubscribe email to [email protected]. From time to time, We may use your personal information to send transactional emails, such as communications about purchases and changes to Our terms, conditions, and policies. Because this information is important to your interaction with Broadway Direct, you may not opt out of receiving these communications. We may also use personal information for internal purposes such as auditing, data analysis, and research to improve Broadway Direct’s services, and customer communications. If you enter into a sweepstakes, contest, or similar promotion We may use the information you provide to administer those programs.
Information Collected By/Shared With Third Parties
Other than as provided in this Privacy Policy, we do not share your personal information with third parties.
Advertising. We partner with advertising companies who may use information from cookies and the tracking tags they place on our website to provide you with targeted advertisements about goods and services that may be of interest to you based on your use of our website and to track the effectiveness of ads served to you. These advertising company partners may anonymously track your Internet usage across other websites in their networks beyond our website. Any information that these advertising companies collect via cookies and tracking tags is generally not personally identifiable (unless, for example, you provide personal information to them through an ad or email message). You are welcome to browse the site in private/incognito mode, which means cookies will not be activated and previous cookies will not be tracked. If you need help with this, contact us at [email protected]. If you would like more information about the use of cookies and tracking tags and to know your choices about not having this information used by these companies, see the Network Advertising Initiatives consumer Web site at http://www.networkadvertising.org/consumer/.
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When necessary. We may also release personal information when we believe, in good faith, that such release is reasonably necessary to protect the rights, property or safety of Ourselves, Our clients, Our users, or others. We may disclose personal information about you to law enforcement, other government officials, or other third parties, as We, in our sole discretion, believe necessary or appropriate, in connection with an investigation of fraud, intellectual property infringement, or other activity that is illegal or may expose Us to legal liability.
Public Forums
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Co-Branded Pages
We may enter into relationships with “powered by” partners, business partners, sponsors, and co-branded sites (referred to here as “co-branded pages”). These might include, for example, pages that share our name and that of another entity. There may be a specific privacy policy on any such co-branded page. Any personal information that you provide when signing up at any co-branded page may be collected by, or shared with, our third party partner. We have no control over, and are not responsible for, our third party partners’ use of your personal information. If you want to learn more about other entities’ privacy practices, please review the websites of those third parties.
Transactions With Third Party E-commerce Partners, Vendors and Advertisers
When you provide personal information to one of Our Site’s third party e-commerce partners, vendors or advertisers (i.e. Ticketmaster.com, Telecharge.com), this transaction will occur in connection with the site of the e-commerce partner, vendor or advertiser, not on the Site, and, as such, the personal information you provide is collected pursuant to and controlled by the privacy policy of such e-commerce partner, vendor or advertiser. Broadway Direct is not responsible for such parties’ privacy policies and We encourage you to familiarize yourself with the applicable privacy policy of the e-commerce site with which you transact business or to contact the operator of such site for more information.
Delivery of Advertising and Other Content
In addition to ads and content that We may serve you directly, We use third-party advertising companies and marketing services companies to serve ads and other content when you visit Broadway Direct and elsewhere on the internet and in other media. Both We and these companies may use information about your visits to Broadway Direct and elsewhere to serve ads and other content to you. In the course of doing so, a unique third-party cookie may be placed or recognized on your browser by such companies. In addition, We and these companies may use Web beacons to help manage Our online advertising and content. These Web beacons enable Us and the third-party companies to recognize a browser’s cookie when a browser visits this Site and to learn which banner ads bring users to our website and to serve you ads that you may find of interest elsewhere on the internet and in other media. Both Broadway Direct and these companies may use information obtained from your visits to Broadway Direct or other websites, and information received from you offline in order to provide advertisements about goods and services and other content of interest to you across the internet and in other media. If you would like more information about this practice and to know your choices about not having this information used in this manner by Our third party advertising companies, please visit http://www.networkadvertising.org/optout_nonppii.asp and/or www.aboutads.info/choices. European users may opt out of receiving targeted advertising by visiting http://www.youronlinechoices.eu/. In addition, we may provide PII and Anonymous Information to marketing services companies. This may include information we received from you offline or online. These companies may combine information we provide (including PII and Anonymous Information) with personal and anonymous information they may have about you, using cookies they place or that We place on their behalf, as described in the section regarding “Cookies and Tracking Tags”. We require these companies to delete the PII we provide them. These companies may use the resulting non-personal information and such cookies for their own marketing purposes, and they may provide the same to their customers for their customer’s marketing purposes. Some of Our emails may contain tags that allow Us and Our advertisers and other partners to determine the types of content that may be of interest to you. Those tags may contain PII and may be shared with others to the same extent indicated in the section regarding “Cookies and Tracking Tags”. Those tags may not be deleted but you can opt out of receiving the emails.
Use of This Site by Children
The Site is not directed to individuals under the age of thirteen (13), and We request that such individuals do not provide personal information through the Site. If a parent or guardian becomes aware that his or her child has provided Us with PII without the parent or guardian’s consent by, for example, misrepresenting his or her age, that parent or guardian should contact us at [email protected]. If Broadway Direct determines that it has collected personal information of children under the age of 13, Broadway Direct will immediately delete such information and any accounts believed to be held by children under 13. In addition, we may not collect or process information from a citizen of an EU member state under the age of sixteen (16) without such person’s parental consent. If you are a citizen of an EU member state under the age of 16, please tell your parents that you are using the Site and have your parents email Us at [email protected] so that We may delete any information We may have collected about you.
California Visitors
California Civil Code § 1798.83 permits California residents to request information about whether we have disclosed personal information to any third parties for the third parties’ direct marketing purposes. California residents have the right to request in writing: (a) a list of the categories of Personal Information, such as name, email address and mailing address and the type of services provided to the customer that a business has disclosed to third parties (including affiliates that are separate legal entities) during the immediately preceding calendar year for the third parties’ direct marketing purposes and (b) the names and addresses of all such third parties. To make a request, please contact Us at the following email address: [email protected].
EU Visitors
If you are located within the European Union, you should be aware that your personal information will be transferred to the United States, the laws of which may be deemed by the European Union to have inadequate data protection. If you are located in a country outside the United States and voluntarily submit personal information to Us, you thereby consent to the general use of such information as provided in this privacy policy and to the transfer of that information to, and/or storage of that information in, the United States. We transfer Personal Information from the European Economic Area and Switzerland to the USA and other countries, some of which have not been determined by the European Commission to have an adequate level of data protection. Personal Information of EU residents will be transferred in compliance with the requirements of the General Data Protection Regulation (“GDPR”).
Rights of EU Data Subjects
If you are a resident of the European Union, under the GDPR, European Union residents, as data subjects, have the following rights:
Right to access – This right allows individuals to obtain confirmation as to whether or not personal information concerning him or her is being processed and provide access to such personal information. It also allows individuals to request details of the processing of his or her personal information, including, without limitation, categories of recipients to whom the personal information have been or will be disclosed and purposes of processing.
Right to rectify – This right allows individuals to rectify any inaccurate personal information about him or her.
Right to restrict processing – This right allows individuals to block or suppress processing of personal data under certain circumstances.
Right to be forgotten – This right is also known as the “right to erasure”. It is an individual’s right to have personal data erased or to prevent processing in specific circumstances.
Right of data portability – This right allows individuals to move, copy or transfer personal data from one place to another in a secure manner without interrupting the integrity and usability of the information.
Right to object to processing – This right allows individuals to object to certain types of processing, including direct marketing, profiling and providing for purposes of scientific or historical research and statistics.
An EU resident has the right to access his or her personal data that We hold and to ask that their personal data be corrected or erased and to port their data. An EU resident may also have the right to object to, or request that We restrict certain processing or to withdraw consent previously provided. If you would like to exercise your rights under the GDPR, please contact us at [email protected]. If you are an EU resident and have a concern about our processing of your personal data that we are not able to resolve, you have the right to lodge a complaint with the Data Protection Authority where you reside. For contact details of your relevant local Data Protection Authority, please see http://ec.europa.eu/newsroom/article29/item-detail.cfm?item_id=612080
Security of Your Personal Information
Broadway Direct employs reasonable security measures consistent with standard industry practice, for personal information collected through this Site, including physical, electronic and operational measures to maintain security and prevent unauthorized access. While Broadway Direct takes all appropriate steps to safeguard personal information under Our control, unfortunately, no data transmission over the Internet or method of storing data can be guaranteed to be 100% secure. As such, We cannot guarantee that personal information supplied by users will not be accessed on Our servers, or intercepted while being transmitted to Us over the Internet. We assume no liability for any damages you may suffer as a result of interception, alteration or misuse of information during such transfers.
Retention
We will retain your information for as long as your account or inquiry is active and for a reasonable time thereafter in accordance with Our standard procedures or as necessary to comply with Our legal obligations, to resolve disputes, and to enforce Our agreements. Even if We delete some or all of your Personal Information, We may continue to retain and use aggregate or anonymous data previously collected and/or anonymize or aggregate your Personal Information. Please note that We will not be liable for disclosures of your data due to errors or unauthorized acts of third parties.
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Correct/Update
This website gives users the following options for changing and modifying information previously provided, at any time.
Users can send mail to the following postal address: Broadway Direct 1501 Broadway 14th floor New York, NY 10036
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Successors
In the event that We are, or any component of our operations is, merged with, or is acquired by, another entity, then any such successor or acquiring entity may become the successor to Our obligations with respect to the personal information that you have provided to Us, which would be necessary for the entity to effectively continue our business. By using this website, you consent to any transfer and use of such personal information by an entity assuming control of Our operations as a result of a merger, purchase of assets, or liquidation in bankruptcy or insolvency.
Contact Us
If you have any questions about this Privacy Policy, the practices of this website, or your dealings with this website, you can send an email to [email protected]. Our data protection officer can also be contacted at [email protected].