By Karen Isaacs
One of the hardest things for most people to do, is to realize that the choices we made in life were not forced but voluntary. That often they satisfied some deep-seated need.
In Arthur Miller’s The Price which is getting an outstanding production at Roundabout’s American Airlines Theater, Victor Franz, a NYC police officer is forced to confront those truths. He must let go of the resentment and belief that the choices he made in life were forced upon him by others. He willingly made them.
It is 1968, Victor Franz is waiting for an antique dealer to arrive. He is finally selling the furniture and artifacts that were his father’s, though the father died 16 years before. But for some reason, it has been undisturbed until now the building has been sold and will be torn down. All he wants is a “price” for the collection of tables, chairs, bureaus, lamps and more that remain. It is clear that at one time, his father was prosperous.
Soon his wife, Esther, stops by and from the conversation we learn a lot: He and his brother have not spoken since the father’s death, the brother (Walter) is a successful physician. Esther, more than Victor, harbors resentment towards the brother, but also envies his affluence. She argues that Victor should not share the proceeds from the sale with Walter. Victor has been trying to contact Walter to let him know about the appointment with the dealer, but he is unsure if Walter got the message or will bother coming.
Soon, Gregory Solomon arrives. He is the dealer though he is in 80s and retired. He is also a talker. He talks in circles, frustrating Victor who wants him to “give me the price.” Through this talk we learn that the father had gone bankrupt during the depression and after his wife died had seemed unable to care for himself; Victor had moved him to take care him, but there was little money. He says they ate garbage.
Act one ends with the arrival of Walter. Act two explores the dynamics between these two estranged brothers. Victor dropped out of college to take care of his father and joined the police force for the security. He had given up the opportunity to pursue his interest in science. Walter, the younger, had stayed in school, contributed little to the father’s upkeep and become successful. But he had suffered a crisis a few years earlier and has developed a different perspective.
The climax of the plot is that at one time Victor had asked Walter for a loan of $500 to continue in school. Walter had told him to ask his father. Walter knew, though Victor would not acknowledge, that the father had managed to keep some money – several thousand dollars. Yet he did not offer it to Victor.
This 1968 play revisits themes that Miller developed in Death of a Salesman and All My Sons. Except in this play the father is dead, although there is a father figure. The play revolves around father-son and brother relationships. How parents often favor one child over another and what that can do to both of them. How brothers can become estranged.
But the play really deals with the choice we make and how often we convince ourselves that there was no choice.
Victor slowly begins to realize that he sacrificed for his father, not because it was the right thing to do or that there was no other option, but because it satisfied some need of his.
This production is blessed with four outstanding performances. Each of the performers mines fully the emotions, the baggage and the back stories of their characters. While you may initially view one of the brothers as the hero and the other the villain, by the end you see them as both complex human beings and feel compassion for both of them.
That is due to the find performances of Mark Ruffalo as Victor and Tony Shalhoub as Walter. They get far below the surface of their characters and show us every aspect through their gestures, voices, bodies and eyes. Too often, Walter is portrayed as both selfish and self-involved. Here you see him as a man shaken by the events of the last few years. You also see that he had more realistic view of his father than Victor had. Ruffalo burrows beneath the self-righteousness of Victor as he slowly begins to acknowledge truths that he had suspected but had pushed down.
Jessica Hecht balances Esther’s resentment of Walter and of Victor, with her realism. She keeps repeating a line that “she did not believe what she knew.”
As the antique dealer, Danny DeVito has the comic role and it makes good use of it. While, occasionally he goes overboard – spitting pieces of hard cooked egg repeatedly, it does help to break the tension.
Director Terry Kinney has managed his talented cast with expertise and has assembled a fine production crew. Each element – set design by Derek McLane, costumes by Sarah J. Holden, lighting by David Weiner and sound by Rob Milburn and Michael Bodeen—make major contributions to our enjoyment and understanding of this play.
The Price may be considered by some to be “lesser” Miller, but it reminds us that even “lesser” Miller is so much better than so many other works.
It is at Roundabout’s American Airlines Theater, 227 W. 42nd Street through May 14. For tickets visitRoundabout Theatre.