The impact of director Holly Race Roughan’s innovative approach to Miller’s work is immediate as you enter the wonderful steeple-sided Octagon Theatre. Moi Tran’s backdrop of a visceral red neon sign saying “Red Hook” is a constant reminder of the bloodletting to follow. This is cleverly reflected in the black mirror floor that suggests dockland water.
As the audience take their seats, Catherine, played here by Rachelle Diedericks, swings slowly from a suspended child’s swing. In her own world, the epitome of innocence and seemingly in contemplation. The swing remains throughout the drama and is used playfully by various cast members, adding an interesting new dimension to the uncluttered set. Symbolically, when unoccupied it is a poignant reminder to Eddie, in particular, of his impending loss and future empty nesting.
The most controversial member of Roughan’s cast is that of Nancy Crane taking the part of Alfieri. This brave statement...
