A Review of Labyrinth Productions’ A View From the Bridge

It’s been said before (by more than just me) that Rosie Morgan-Males and Natascha Norton at Labyrinth Productions know their way around a theatre. With A View from the Bridge they once again prove this to be the case. While an evening of Arthur Miller is never the promise of a particularly enjoyable night out, I can say with confidence that this show was certainly still an evening well spent. There was no denying the level of competence present within both cast and crew, a competence that could put some of the professional shows I have seen to shame. Excellent from beginning to end, this was a clear example of when things go very right within Oxford Drama.

Entering the theatre, audiences were greeted by a gauze through which the set was just visible. As the show began, Euan Elliot’s set design became clear. Taking a modern approach, the use of levels and platforms took full advantage of the stage that the team had to work with, creating something that was an impression but also so clear. There wasn’t the need for copious set dressing to know exactly where the cast were and what was happening. This impression was solidified by the projection of images prior to the raising of the gauze – situating the audience into a space and time they could now fully imagine.

Helping to bring this to life was a talented cast, each of the leads clearly displaying their strengths. A story of the hardships of these five people was woven together by the narration of Alice Wyles’ Alfieri. Wyles’ performance was a true embodiment of the character, always drawing the eye, and it was wonderful to see yet another side of her acting range. Although, it is a pity that she wasn’t always well lit enough to see her face clearly. Commanding the stage with his presence, Nate Wintraub’s Eddie was a tough and well drawn rendition of the character. In fact, fault cannot be found with any of the cast and it is wonderful to see this generation of OUDS really coming into their own.

With a full orchestra, led by Louis Benneyworth, adding a cinematic undertone to the most dramatic of moments and some wonderful lighting design, Rosie Morgan-Males has proven yet again that she is a director to watch. For the most part she has leant towards a naturalistic style with this play (despite the set design); however I feel that it is worth noting that the particularly striking end sequences seemed a little at odds with this. While the ending was arguably the most interesting part of the show visually and perfectly in keeping with the set design, it did make me pause. This use of ensemble enhanced the idea of being watched, but I’d be curious to learn about the decisions behind this shift and why one style wasn’t continuous throughout.

Overall, this was perhaps the best performance I have seen during my time reviewing in Oxford. I was already a fan of Labyrinth and the work that they have done, but this solidifies this belief and leaves me curious to see where the team go from here. From the projected images to the stylised finish, there is no denying the effort, thought and passion that has gone into this project. While I was left a little confused as to why we saw two different styles upon the stage, I was fully immersed into this wonderful performance from the first moment.