• Advertise
  • Request Review
  • Write for Us
  • Privacy
  • Login

Theatre Bubble

The UK Theatre Network

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Reviews
  • News
  • Features
  • Spotlight
  • Opinions
  • Interviews
  • Guides
  • Ed Fringe

No Villain at the Trafalgar Studios

June 21, 2016 by Olivia Coxhead Leave a Comment

Review of: No Villain by Arthur Miller
Produced by:
Covent Garden Productions, Turner Theatre Ltd, in association with The Old Red Lion Theatre
Price:
£15-30

Reviewed by: Olivia Coxhead
Rating:
4
On June 21, 2016
Last modified:June 21, 2016

Summary:

Transferring from a world premiere at The Old Red Lion Theatre to Trafalgar Studios 2, Sean Turner's production is a sensitive and traditional interpretation of Miller's lost play, that nonetheless emphasises its timeless nature and the cyclical nature of the problems it explores.

More Details

The young Arthur Miller must have been a fearsome person to behold. No Villain was the playwright’s first dramatic narrative, written in 6 days at the tender age of 20, and yet far from presenting a faltering, embryonic version of later greatness, his voice emerges fully formed and enviably nuanced. Transferring from a world premiere at The Old Red Lion Theatre to Trafalgar Studios 2, Sean Turner’s production is a sensitive and traditional interpretation of Miller’s lost play, that nonetheless emphasises its timeless nature and the cyclical nature of the problems it explores.

No-Villain

Self-described as autobiographical, Miller’s first play clearly follows the adage to ‘write what you know’. No Villain focuses on an American Jewish family pushed from relative economic prosperity into reduced circumstances. Struggling with their son’s Communist principles in light of an industrial strike action that threatens to ruin their family business, the play explores the turning point at which sons out-educate their fathers, and the personal ramifications of the American industrial downturn on this symbolic family. Turner’s direction expertly allows room for the audience to make a multitude of connections with Miller’s later work; Esther and Abe are a prototype Linda and Willy from Death of a Salesman, whilst the characters’ exploration of Communism sticks in the throat more sharply, as a foreshadowing of Miller’s later struggles with McCarthyism.

The cast work generously with each other, switching between heart-warmingly ageless scenes of family comedy and full-tilt emotional explosions as their world begins to crumble. David Bromley, as the father Abe, is particularly masterful across the huge range demanded for his part, but it is George Turvey who shines brightest as younger brother Ben. Unafraid to step back into supporting roles when scenes demand, he also delivers a powerful emotional performance against Bromley, his earnestness heightening the family’s desperation at the climax of the narrative.

The character of Arnold, as Miller’s walking self-autobiography, is surprisingly sidelined; whilst a key motivation in the development of the plot, he is off stage for significant lengths of the show, and is principally defined by his refusal to take action. Perhaps a result of Miller’s reluctance to write himself lines, Arnie is a palpable observer, and as such, Alex Forsyth does not get much opportunity to develop his performance. As a newly-Communist ‘college boy’, what a young Miller may have intended as a more inspirational character comes across as a petulant, detrimentally-principled youth. Arnie’s character could have benefited from more sympathetic portrayal.

With a versatile, richly detailed set from Max Dorey, the play is firmly placed in Miller’s historical period. Natalie Pryce’s costumes were extremely well detailed and thought through – from straining button holes on a grandfathers cardigan, clearly bought in earlier decades for a slimmer figure, to the play on hierarchies across the different styles of male suits. Period though the visual language may be, the issues raised by Miller are eerily relevant for the modern audience; newly acquired, rebellious political principles that go against parental beliefs (and develop at university). Ben’s exploration of the dysfunction of higher education, its meaninglessness and circularity. Perhaps most importantly, the everyday, unseen impact of economic downturn that became the hallmark of Miller’s later work, and is none the less important for today’s generation.

No Villain will be continuing its run at Trafalgar Studios until 23 July 2016. You can book tickets here

CAST AND CREW

Abe – David Bromley
Esther – Nesba Crenshaw
Ben – George Turvey
Maxine – Helen Coles
Grandpa Burnett / Man – Kenneth Jay
Arnold – Alex Forsyth
Frank – Michael Lyle
Mr Dawson / Doc / Roth – Stephen Omer

Direction – Sean Turner
Set Designer – Max Dorey
Lighting Designer – Jack Weir
Sound Designer and Original Composition – Richard Melkonian
Casting Director – Liz Bichard
Costume Supervisor – Natalie Pryce
Production Manager – Heather Doole
Stage Manager – Edwina Allen

Olivia Coxhead

Author: Olivia Coxhead

Olivia has worked as a production manager in open air touring theatre, and currently loves being an audience member who doesn't have to bring an umbrella and a plastic poncho to every show

Filed Under: Featured, Review Tagged With: American literature, Arthur Miller, Great Depression, No Villain, Old Red Lion Theatre, Trafalgar Studios, West End Theatre

Join the discussion Cancel reply

NEWS / Living Record Festival of digital arts announces programme

Living Record Festival is a month-long Digital Arts Festival curating and presenting over 40 original pieces from a range of [Read More]

INTERVIEW / Open Bar on A ChristMESS CAROL

Tell us about Open Bar Theatre and also how you came about and how the name came about. OBT: Open Bar [Read More]

NEWS / Ayomide Adegun awarded The Luke Westlake Scholarship 2020

22 year old South Londoner Ayomide Adegun is currently in his 2nd year of the BA Acting course at Royal [Read More]

NEWS / Late Night Staring at High Res Pixels announced

A new play repurposed for online viewing from the creative team behind Scrounger, and the first of the Finborough Theatre’s [Read More]

NEWS / Crimes Against Christmas becomes an audio advent calendar

Typically at this time of year theatre company New Old Friends would have just finished an Autumn tour and be [Read More]

Top Posts & Pages

  • 10 Tips to Help You Prepare for Your Reality TV Auditions
  • 5 Stage Elements to Consider for a Rousing Theatrical Production
  • Writing the Perfect Press Release
  • Interview with Victor Oshin, playing Othello with ETT
  • Katy Owen: How to Apply to Drama Schools*
  • Katy Owen: Auditioning for Oxford School of Drama
  • A Streetcar Named Desire- A cry of pain- Young Vic
  • Yasmin Paige on Actually
  • Too High, Too Far, Too Soon- Tristan Bates Theatre
  • Crowdfunding In Theatre - An Overview
  • Olivia Coxhead

    Olivia Coxhead
    Editor

  • June 21st, 2016
  • comment iconNo Comments
  • Facebook204TweetLinkedInEmail

    Newsletter

    Enjoyed what you've read? Get even more great content directly to your inbox - Completely Free

    About Theatre Bubble

    Theatre Bubble is the news, review and blogging site created by Blue Pie Media and run by a dedicated team of outstanding editors and writers: we're always looking for new contributors - to find out more click here.

    Contact Us

    News: news@theatrebubble.com
    Reviews: reviews@theatrebubble.com
    Website: webmaster@theatrebubble.com

    Privacy Policy

    Copyright © 2021 · Blue Pie Media

    Share this ArticleLike this article? Email it to a friend!

    Email sent!