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Reviewed by Lawrence Bommer on October 15, 2012
EVIL WILL TRAVEL
In his great works, like Death of a Salesman and The Crucible, and even in his lesser efforts, such as Broken Glass,
Arthur Miller forces us to confess a greater loyalty than those based
on our obvious ties to family, class, and country. He asks us to honor
our ideals, and further challenges us to admit that those ideals
aren’t ours alone.
Now enjoying a clear-cut, compelling revival at Redtwist Theatre (where it was first performed in 2004), Miller’s late work, Broken Glass,
affirms the vitality of self-knowledge. Here it is the imperative of a
successful banker that he accept his Jewish identity so that his wife
can stop living in fear. The play equally honors Dickens’ prescription
to Scrooge: “Mankind is our business.”
Set in November 1938 immediately after Kristallnacht (a Holocaust
rehearsal when Nazi thugs looted and wrecked 7,000 Jewish shops and
synagogues), Miller’s metaphorical situation confronts us with Sylvia
Gellburg, a middle-aged Brooklyn housewife who suddenly, through no
apparent cause, loses the use of her legs. An ideological mystery, Broken Glass
offers conflicting explanations for Sylvia’s paralysis, ultimately
leaving it up to audience members to decide which one they prefer.
Half in love with Sylvia himself, her doctor is convinced that marital
discord accounts for her affliction. Mired in denial of his Jewish
heritage, her husband Phillip thinks Sylvia crippled herself by reading,
and taking personally, the Nazi abuses of their fellow Jews. Both, it
seems, are right. Possessed by a dread that reminds her of a dead fetus,
Sylvia feels what too many Americans did (do) not: A vulnerability to
atrocities inflicted on others. Seeing the picture of two elderly Jewish
gentlemen forced to clean a German street with toothbrushes, she loses
any protective illusions of inviolability.
But her fear is closer to home than Phillip realizes. Sylvia feels
threatened precisely because Phillip pretends that he is not: in a sad
case of blaming the victims, he condemns the German Jews for
bringing on their troubles themselves. Perversely, Phillip’s denial of
his Jewish identity makes him suspicious of anti-Semitism in his boss, a
paranoia that ultimately undoes him. But it also breaks him down,
enough so that he and Sylvia can finally cure each other.
Alternately discursive and melodramatic, Broken Glass is a tad
too eager to explain the mysteries it presents. For all Miller’s
specificity about its unhappy sexual problems (complete with the
Freudian baggage of female hysteria), this troubled marriage must carry a
heavy load of psychosocial significance, enough to strain the
credibility of the characters.
Directed by Michael Colucci and Jan Ellen Graves, Redtwist’s
sympathetic staging wisely lets five strong actors prove their mettle.
Dignified in her principled anguish, Jacqueline Grandt’s radiant Sylvia
– a 1938 Cassandra envisioning the concentration camps to come – offers
more than just a case of hypersensitive shell shock; her compassion is a
benchmark to judge our own moral shortfalls. Playing Phillip as a
repressed control freak, Neal Grofman, generous in his
self-laceration (reminiscent of Jack Lemmon at his most exposed), still
makes us care for this damaged self-hater. As her too-caring doctor,
Colucci steers clear of medical malpractice to suggest a good man aching
to give Sylvia a love he knows she needs.
Effectively suggesting Miller’s surrounding humanity are Joe
Schermoly’s period-defining design and kClare Kemock’s accurate
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Arthur Miller’s late work, regarding the
American reaction to the rise of the Third Reich, receives a blistering
revival at Redtwist.
Reviewed by Emily Gordon
In a Jewish neighborhood in 1938 Brooklyn, Sylvia Gellburg (Jacqueline
Grandt), literally paralyzed by the rising Nazi horror, seeks help from
the genial, assimilated Dr. Harry Hyman (Michael Colucci). On the page,
Arthur Miller’s 1994 play is an urgent capsule of sexual, ethnic and
political mores (and perhaps an indictment of America’s own paralysis in
regard to the Jews), but Redtwist’s smart and big-hearted production catapults it into life. Neal Grofman is outstanding
as Sylvia’s husband, Phillip, who sucks up to his WASP boss and hates
himself; Grandt meets his wounded outbursts with steely grace. Joe
Schermoly’s set allows half the audience to see the hazy outlines of the
other half across the stage, an apt reminder of humans’ abiding duty to
our own kind.
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Reviewed by Tom Williams
Powerful performances propel Miller’s last great play
As they did in 2001 and 2004, Redtwist Theatre mounts a fine production of Arthur Miller’s (1915-2005) 1995 drama, Broken Glass.
Written when Miller was nearly 80, Broken Glass deals with an identity
crisis by a middle aged Jewish couple that turns into a mystery. Why is
Sylvia Gellburg (Jacqueline Grandt) paralyzed from the waste down when
medically she seems fine? Why does Phillip Gellburg (Neal Grofman) come
off as attacking, argumentative and self-loathing? What does the
horrible news of Kristallnacht in Berlin in November of 1938 so upset
Sylvia that she seems obsessed with fear that the attacks on Jews could
come to her Brooklyn neighborhood?
When Dr. Harry Hyman (Michael Colucci), a neighborhood general
practitioner, is asked to help ‘cure’ Sylvia, he becomes a tad too
involved with Sylvia, or so Phillip thinks. This mystery drama is
layered with nicely woven plot lines involving sexual impotency,
years of guilt, and loads of fear. Phillip’s self-loathing at
being a Jew and his guilt for not allowing Sylvia to have a
working career ruins any intimacy between the couple after the birth of
their only child. When Sylvia’s ailment happens, Dr, Hyman investigates:
Is it fear of Phillip or fear of repression toward Jews that fuels her
The mystery unfolds revealing the complications of a loveless marriage
and repression can take its toll on both the repressed and the
repressor. Arthur Miller dramatized how fear, lack of love, and
self-hatred can , over time, destroy a family. This is the last terrific
work Miller penned. It unfolds through several riveting performances. Michael
Colucci is the warm, steady, understanding doctor while Jacqueline
Grandt is believable as the psychosomatic paralyzed wife. But the
performance that jumps out as mesmerizing is Neal Grofman’s
powerful, emotionally wrenching take on the repressed Phillip. Grofman
is outstanding here. The production moves along building the
suspense as we try to guess the causes and consequences of both Sylvia’s
ailment and Phillip’s rage. The Redtwist Theatre production is first-class theatre. Don’t miss it.
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Recommended, Short List
Reviewed by Keith Griffith
On the day after Kristallnacht, the New York Times headline
waffled: "Nazis smash, loot and burn Jewish shops and temples until
Goebbels calls halt," it read—as if Hitler's virulently anti-Semitic
propaganda minister were the voice of restraint. The muted world
response to this gruesome rehearsal for the Holocaust plays out on a
personal level in Arthur Miller's penetrating 1994 script, set in 1938
Brooklyn. A hard-driving businessman but conflicted Jew, Phillip
Gellburg is baffled when his wife's obsession with events in Germany
appears to paralyze her from the waist down. ... superbly cast remount of the show Redtwist produced in 2001 and 2004. The 2004 Gellburgs, Neal Grofman and Jacqueline Grandt, reprise their roles with vivid emotional realism.
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Ten Must-See Plays
This article appears in the October 2012 issue of Chicago Magazine.
9. Broken Glass, Redtwist Theatre
The scrappy storefront
company typically delivers incendiary intensity on its teeny stage—which
bodes well for this rarely produced Arthur Miller play. Also a draw:
leading lady Jacqueline Grandt, the breakout star of Redtwist's Bug.
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The New Season: Once again, Redtwist will assemble shards of Miller’s ‘Broken Glass’
By Lawrence B. Johnson
Redtwist Theatre’s founding artistic director Michael Colucci
hopes the third time will be the charm as he attempts once again to find
a Chicago audience for Arthur Miller’s “Broken Glass” – the launch
piece for a 2012-13 season that also spotlights the Chicago premieres of
Lee Blessing’s “Body of Water” and Leslye Headland’s “Reverb.”
First produced in 1994, and nominated for a Tony Award for best play,
“Broken Glass” deals with a mid-life Jewish couple living in Brooklyn in
1938. When news comes of the Nazi pogrom known as Kristallnacht, in
which thousands of Jewish homes, businesses and synagogues were pillaged
across Germany and Austria with unofficial government sanction, the
distraught Brooklyn woman suffers sudden paralysis. A doctor believes
the cause to be psychological and begins to explore the woman’s personal
issues, revealing a web of circumstance.
Redtwist, established in 1994, originally produced “Broken Glass” to
open its 2001-02 season, just days before the terrorist attacks of 9/11.
The show drew little attention. In 2004, Colucci and company
tried again. “But nobody really knew who we were, so nobody came,” he
says. “It feels unconsummated. It’s a powerful play, so we’re giving it
The 2012-13 season in brief:
- “Broken Glass” by Arthur Miller (Oct. 14-Nov. 18): While
the title refers literally to the smashed windows on Jewish properties
in Germany and Austria during the Kristallnacht pogrom of Nov. 9-10,
1938, it also alludes metaphorically to the fractured marriage of a
Jewish couple living in Brooklyn at the time. “This man and woman are
living in a loveless marriage, stuck in a rut,” says Colucci . “He
has begun to question his personal identity as a Jew, a husband and
father. Miller puts their day to day existence under a microscope.”
- “Purple Heart” by Bruce Norris (Dec. 22-Jan. 27, 2013):
Carla’s husband has recently died, her son is out of control, she’s
dealing with a controlling mother-in-law and she’s overly fond of vodka.
That’s the starting point of “Purple Heart” by Bruce Norris, whose
“Clybourne Park” won the Pulitzer Prize for drama. “It’s about a woman
going through the grieving process after the death of her husband in
Vietnam,” says Colucci. “It’s also a very dark comedy, sick and twisted.
This will be the play’s second production worldwide.” Steppenwolf
Theatre gave the premiere in 2002.
- “A Body of Water” by Lee Blessing (Chicago premiere, March
2-April 4, 2013): In the wake of a traumatic occurrence, a middle-aged
couple find themselves utterly disoriented: They don’t know who they
are, where they are or how the parts of their lives connect. Their
daughter turns to extreme measures to reach them. Their bizarre
predicament takes them through careening twists and mounting
desperation. Colucci calls this puzzle play “an intriguing drama
that examines the wisdom of embracing a pure moment of joy when nothing
else is certain. It may be alzheimer’s, but it might have been a
car accident. Or there might have been an attempted murder-suicide.”
- “Reverb” by Leslye Headland (Chicago premiere, May 18-June 23,
2013): A rising young musician and his girlfriend/muse are trying to
shake their dysfunctional pasts, but the reverberations keep them locked
in a recurring cycle of tenderness and combat. “It’s about a
relationship that’s toxic and vicious,” says Colucci . “The play
(part of Headland’s cycle of the seven deadly sins) is a darkly comic,
brutal dissection of the deadly force of wrath.”
- In late July 2013, Redtwist will open a fifth play, the rights to which Colucci is still negotiating.
Redtwist Theatre, which began life in 1994 as Actors Workshop Theatre,
moved to its present location, at 1044 W. Bryn Mawr in the Bryn Mawr
Historic District of Chicago’s Edgewater neighborhood, in 2002.
“We want our patrons to feel they’ve had a unique experience at a
Chicago storefront theater,” says Colucci , who proudly notes that
the tiny venue’s 40 seats are large, cushioned chairs and that
occasionally – as in “Pillowman” during the 2009-10 season – seating
capacity gets shrunk to less than 30. “It’s a warm, homey feel.”
Amen to that, says Goodman Theatre associate producer Steve Scott, who
directed Redtwist’s opening show each of the last four years and was
going to make it five this season with “Broken Glass” until he was
sidelined by a foot ailment. (Colucci and his producing partner
and wife Jan Ellen Graves took over to co-direct the show.)
“I do love the space,” says Scott. “It’s so intimate you have a chance
to involve each person in the audience almost individually in the action
of the play. In a larger house, even with just 200 seats, the viewer
can pull back, but at Redtwist there’s no turning away. That can be
great fun or, depending on the play, really painful as that small room
seems to become even smaller.”
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Redtwist's "Broken Glass" Interview
by Sarah Terez-Rosenblum on October 16, 2012
Redtwist Theatre may be small in size, but since 1994, they’ve broadcast
impressive ambition, producing a cavalcade of notable shows. Now, the
storefront theatre heads into fall with Arthur Miller’s Broken Glass, a gripping drama about a New York couple in Kristallnacht’s aftermath. OUR TOWN spoke with founder and Artistic Director Michael Colucci and star Jacqueline Grandt.
OUR TOWN: Broken Glass is one of Arthur Miller’s later plays, not
as frequently performed as earlier ones. Why did Redtwist chose to
produce it not once but twice?
Michael Colucci: Broken Glass was—and still is—a buried treasure
by the master American dramatist, written in 1994 during his golden
years of full wisdom at age 79. We chose to produce [the play] in 2004,
our first full season in our Bryn Mawr space. At that time, we were a
relatively unknown resident company and thus very few people saw
Jacqueline [Grandt]'s compelling performance as Sylvia Gellburg. Since
then, she has become Redtwist's leading lady and one of the finest
actresses in town. And so we felt it was imperative for her to revisit
the role. Now that Redtwist has a bit of a following, many more people
will see her exciting interpretation of this passionate and uniquely
OT: Jacqueline, what’s it like to revisit an old part?
Jacqueline Grandt: It is truly amazing! I didn't go back and
review my previous script or look at the DVD. I wanted to allow a fresh
perspective and take advantage of my added experience on stage, as well
as my own personal life experiences, to create a new character, one
which I believe is fuller and more complete than before.
OT: Obviously you’re playing a character pretty far removed from your experience. What are you doing to prepare?
JG: I did a lot of research on the era itself, as well as research on
hysterical paralysis, which Sylvia suffers from. I discovered that the
author of a book she is reading in the play, Anthony Adverse, suffered
from shell shock, which is very similar to hysterical paralysis.
It certainly isn't difficult to be frightened by the horrific
articles and pictures of Germany at that time.
OT: How did the dramaturge serve in prepping all of the actors for the show?
JG: The research on each and every part of the script is so necessary
and our dramaturg, Cassandra Rose, did an excellent job. I worked with
her on Bug last year and she is wonderful! Thorough, thought
provoking...it truly helps in shaping any character.
OT: Are there specific onstage moments you can point to over the course
of your career during which you felt the way growing up you’d imagined
an actor feeling?
JG: Yes. I believe it's the times that I've been in a scene where you
actually feel the audience holding their breath...where you can feel
their eyes watching and feeling every emotion you put forth. Those
are the moments that I believe all actors live for.
OT: What are your feelings on Chicago’s theater scene?
JG: I believe its reputation is well deserved. We produce some of
the very best live theatre in the country. Redtwist is signature
Chicago because it gives you the "up close and personal" theatre that
you don't see very often. I'm so very proud to be part of that!
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Well-written dialogue, intensely drawn characters highlight Miller drama
Review by Joy Campbell
Franklin Delano Roosevelt famously said, “We have nothing to fear but
fear itself.” It’s fitting, then, that a play about the crippling
effects of fear takes place in 1938, during FDR’s presidency.
The story revolves around Sylvia Gellburg (Jacqueline Grandt), a woman
who has suddenly and for no apparent reason lost all feeling in her legs
and can no longer stand or walk. Her husband, Phillip (Neal Grofman)
takes her to local physician Dr. Harry Hyman (Michael Colucci) to
determine what ails her, but when Dr. Hyman can find no physical basis
for the illness he begins to suspect psychological causes.
Sylvia, who is Jewish, has become obsessed with newspaper reports of
abuse by European Jews at the hands of the Nazis. Dr. Hyman believes
that this obsession holds the key to understanding what he believes to
be a hysterical illness. The events overseas have triggered something
personal in Sylvia, but what?
Those who enjoy a good mystery will appreciate the typically
Miller-esque manner in which clues tantalizingly unfold and pieces
slowly come together to bring a complete picture into focus.
The play’s title is a reference to the German pogrom of Kristallnacht,
or The Night of Broken Glass, when windows of Jewish establishments
were smashed all across Germany. It can also be seen as a reference to
the mirror in which self-hating Phillip Gellburg sees his loathed
“Jewish face,” and as a metaphor for the destruction of Sylvia’s
carefully built life of self-denial, constructed to protect others.
The central theme here is fear: Sylvia’s unnamed, crippling fear; her
husband’s fear of rejection because he’s a Jew; Dr. Hyman’s fear of his
attraction to Sylvia, and his wife’s fear of his attraction to other
Miller also works in some good social commentary. When Sylvia cries out
against the injustices perpetrated overseas, her husband can’t
understand why she takes it so personally, but does boast that he’s the
only Jew to ever be hired by his company. Dr Hyman had to study medicine
in Germany, as American universities had quotas on Jews. Both men fail
to see the connection between their own experiences at home and the
situation unfolding abroad, and their obtuse attitudes only exacerbate
I don’t want to give away the play’s discoveries and resolution, but
Miller does a good job of commenting on the ways in which people
persecute themselves and, by extension, the people they love. Delicately
building his story through progressively revealing dialogue, he deftly
brings out the complexity in each person.
Jeff-Award-winner Jacqueline Grandt, as Sylvia, creates a genuinely
moving woman who makes us feel her anguish as well as her frustration,
while never coming across as a weak victim. As her volatile and
short-tempered husband Phillip, Neal Grofman is so tightly wound that
the stage vibrates with tension whenever he is on it. Phillip is perhaps
the most complex of all the characters, and Grofman does an excellent
job of bringing sympathy and vulnerability to an often abrasive
As Dr. Hyman, Michael Colucci emanates such a calm, professional and
caring manner that I found myself wanting to spend an hour in his office
pouring out my woes....
Susan Fay ably plays Dr. Hyman’s wife, Margaret, the non-Jew from
Minnesota who injects a happy, hearty balance to the story. Likewise,
Sylvia’s down-to-earth sister, Harriet, is an uncomplicated, candid
woman who acts as Sylvia’s spokesperson. Robyn Okrant’s performance is
sweet and engaging. As Stanton Case, Phillip’s boss, Mike Nowack has the
smallest role, yet is a commanding presence in every scene in which he
Thanks to dialect coach Eva Breneman, the believable New
York/Brooklyn accents are a delight to hear. Joe Schermoly’s set is
simple and effective: a few prop changes converts the small
performance space from a doctor’s receiving room to a bedroom to an
executive’s office. The action is carried out in the center, with the
audience seated on two sides.
Co-directors Michael Colucci and Jan Ellen Graves do a superb job of using the space to good and natural effect.
If you are a fan of well-written dialogue and intensely drawn
characters, and if you enjoy a good enigma, Redtwist’s Broken Glass will
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Reviewed by Al Bresloff
Redtwist Theatre, that little storefront on Bryn Mawr , is one of my
favorites when it comes to utilizing a small space for bringing
audiences exciting theater. Their current production, Arthur Miller’s
“Broken Glass” is one that has a great deal of sentimental value to this
troupe, as it was the first production in their first full season at
the Bryn Mawr location. They had previously done it at Victory
Gardens back in 2001. This is one of the lesser known Miller plays and
was first produced back in 1995, so it was one of his later works. The
title represents “Kristallnacht” (the night of the broken glass) that
took place during November 9th and 10th of 1938 in Poland, and the story
deals with this period of time, but in Brooklyn New York.
The Gellburgs, Phillip (Neal Grofman) and Sylvia (Jaqueline Grandt) are a
married Jewish couple, that to all around them seem like an ordinary
couple. By the way, both of these actors are the original players in the
original production. It seems that they have a problem. In the opening
scene, Phillip is meeting with Dr. Hyman played by Michael
Colucci, who also directs this production with Jan Ellen Graves (Colucci
directed the original as well as played this role) to find out what is
wrong with Sylvia. It seems that her legs will not function despite
nothing being wrong with her. Dr. Hyman explains that there is no
physical reason for this illness and that it may in fact be mental.
The story then goes on to analyze what may be the cause of this baffling
illness and in the exploration, we learn a great deal about each of the
individuals. What appears to be a normal family, is not all that we
thing it is and each of the characters has some personal problems that
are self contained, each not being able to share. Part of what starts
the illness is what is going on in Germany, Sylvia feeling that her
safety is unsure and Phillip, who almost tries to hide his Jewishness,
feeling that it will be fine. Along the way we see that Phillip is proud
of being Jewish only when it represents something special, but
otherwise feels that the world around him is anti-semetic. Smoothly
directed by Colucci and Graves, who have a firm grip on the play, on a
wonderful set (Joe Schermoly makes great use of the tiny stage) this is
two plus hours of pure Arthur Miller with a cast that conveys the story
with honesty and feeling. Mike Nowak takes on the role of Phillip’s
employer, Susan Fay as Dr. Hyman’s wife, Margaret and Robyn Okrant as
Sylvia’s sister Harriet (she is the comic character, but also reveals a
great deal about her sister and brother-in-law as Dr. Hyman explores the
cause of this illness.
I am not one to give away the ending of a well written story, so I will
only tell you that this is about relationship, love and honesty. These
could be real people, people that you may know with problems that are
self contained. Identity crisis for Phillip, lack of affection and
respect for Sylvia, and a Doctor who is in fact a womanizer, but it is
his caring and concern that opens up Pandora’s Box for the Gellburg
family. This is a very impressive production from start to finish.The
lighting by Christopher Burpee adds to the effectiveness as does the
sound and incidental music chosen to be used and the amazing props
assembled by Jeff Shields along with the costuming by kClare Kemock all
make this multi-scene play work on this small stage. The stagehands and
actors keep the flow of scenes to a minimum of time and Ms Grandt never
goes out of character. As the scenes change, if she exits, it is back to
the wheel chair and off. This is not easy and she handles it
I suggest that if you love Miller, you get over to see this sterling production,
one that will make you think , as it is only running through November
18th (just think, during the anniversary of the Kristallnacht).
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Deep cuts leave souls bleeding in Redtwist’s close perspective on Miller’s ‘Broken Glass’ ★★★
Review by Lawrence B. Johnson
Phillip Gellburg is a hard-working Brooklyn real estate broker who views
the fact that he’s Jewish with a discomfiture bordering on paranoia.
But it’s his wife Sylvia who goes off the deep end in Arthur Miller’s
1994 play “Broken Glass,” now in a run at Redtwist Theatre that’s more
than metaphorically shattering.
It’s November 1938, and the front pages of newspapers are splashed with
reports and pictures of the spreading Nazi pogroms against Jews in
Germany and Austria as they progress swiftly from violent to debasing
and lethal. In Sylvia Gellburg, the news accounts, and especially the
photographs, elicit acute alarm and fear – and this perfectly healthy
woman becomes suddenly paralyzed, unable to walk.
Is this an unconscious reaction to events taking place thousands of
miles away? Maybe. But when Phillip consults with a doctor about his
wife’s condition, he gets a surprising assessment: not exactly a
diagnosis, but a wise observation: that family illnesses often come in
twos and threes, and more people may be infected than meet the eye.
The doc’s experienced truth is the launch point for a drama that peers
deeply into such fundamental issues as self-respect and love, and how
the breakdown of the one can derail the other.
Neal Grofman and Jacqueline Grandt make a credible, volatile, tragic
pair as a man flailing against the world and his heritage and a woman
who senses a terrible threat she cannot freely acknowledge or describe.
Grofman’s Phillip is a sober, no-nonsense fellow, practical, circumspect and humorless. When the doctor (played with mellow directness by Michael Colucci)
explores a possible correlation between the oppression and Jews in
Europe and Sylvia’s paralysis, Phillip reacts with impatient annoyance.
And when the insightful physician suggests that Phillip might consider
showing his wife more warmth and affection, the attempt quickly veers
into a harrowing outburst of accusation. Suffering is a shared commodity
in the Gellburg household.
As the woman terrorized by remote horrors, Grandt offers a complex performance
that hints at subsurface vitality in a body incapacitated. If we see
this story largely through Phillip’s eyes, it is Grandt’s eloquently
drawn Sylvia that mirrors his dark reality. Here is a woman bereft,
indeed terrified, crippled, spiritually neutralized by something so
dreadful that she can’t call it by its right name.
Yet there are potential speed bumps in the drama’s course, and
Redtwist’s production – directed jointly by Colucci and Jan Ellen Graves
– does little to smooth them out. Unlike the exchanges between
Phillip and the doctor, and Phillip and his wife, where we see a deeply
troubled man awash in his self-loathing, there’s an aura of calculated
setup in Arthur Miller’s treatment of other encounters.
...Robyn Okrant is a constant delight as Sylvia’s burbling sister,
whose wholesome directness forces some fresh air into the world of this
suffocating woman. When Okrant is in the room, the pulse of this show
The compressed intimacy of Redtwist’s space magnifies the intensity of the best scenes, and designer
Joe Schermoly’s practical set scheme takes advantage of this closeness,
sharpening our sense of the world closing in on Sylvia. You come
away from the experience with the torment of these two souls emblazoned
on your mind, like a photographic flash that has caught you wide-eyed