All My Sons

The decision to mount Arthur Miller’s seminal play All My Sons as the debut production at Sydney’s newest theatre the Eternity Playhouse is one that brings with it so much weight of expectation that it could have backfired spectacularly and set a somber tone for the rest of the theatre’s inaugural seas on.

In choosing this play director Iain Sinclair gives himself nowhere to hide. At first glance it is seemingly ostentatious to go with an American classic to open an Australian theatre. And in performing in an albeit minor role (Jim Bayliss) one would imagine he also created another rod for his own back. But it is in Sinclair’s daring that comes greatness. This production not only does Miller proud it elevates Sydney’s independent theatre scene to another level.

This is beautifully crafted theatre that tells a story of a fairly ordinary family with an extraordinary secret. What is so wonderful about this production is that from the set, to the cast, to the execution they are all done with a singular purpose and that is to serve Miller’s text. There are no bells and whistles, no fancy rewrites or pretentious “contemporising” of the work, this is just a great cast, telling a great story and doing it very well indeed.

There’s no doubt that Sinclair has managed to corral a group of performers with serious credentials and there are some exceptional standouts. Marshall Napier as the patriarch Joe Keller manages to tread the fine line between being too clever by half and suffering the confusion of circumstances which leapt beyond his control. Meredith Penman as Anne Deever gives a wonderfully sweet and sincere rendition. But it is Andrew Henry as the good son Chris Keller and Toni Scanlan as his mother Kate Keller who both turn in profound and captivating performances. Henry just “gets” the rhythm and humour of Miller’s unique American turn of phrase. He is also able to exhibit a sweet awkward innocence and a volcanic rage which makes a potent combination. And Scanlan’s ability to draw a character that exists in a constant state of denial and repressed anger is compelling. 

Luke Ede’s production design, Nate Edmondson’s sound and Nicholas Rayment’s lighting all combine to take us back in time to 1950s middle America, when life was supposed to be simple, but was far far from it.

From the beginning All My Sons is gripping, but it is the second half that holds the entire audience on a knife edge and it is exhilarating.

So if I haven’t convinced you yet - then I’ll spell it out - don’t miss All My Sons or you’ll regret it.

Whitney Fitzsimmons

Images: Marshall Napier; Meredith Penman, Marshall Napier and Andrew Henry, & Toni Scanlan and AndrewHenry. Photographer: Brett Boardman