Ahead of the National Theatre Live cinema release of the West End production of All My Sons on 16 April, we attended a preview screening at the Garden Cinema and Q&A with Paapa Essiedu and Tom Glynn-Carney.
Joe Keller is a man, seemingly and surprisingly, unburdened. He has not come through the war unscathed, however, along with his wife Kate, who has lost their son Luke, presumed dead. They have another son, Chris, who will inherit all his dad has worked hard for.
The Arthur Miller play, which comes to National Theatre Live as of April 16, tells the story of a family who are financially comfortable, and living under the heavy shadow of loss, and the imprisonment of Joe’s business partner, who was convicted for approving a shipment of faulty aeroplane parts that killed 21 pilots. Joe let him take the blame, which was not exactly a big reveal. His family have other things on their minds, however and are wrapped up in their own wants and needs.
Several things struck me about this long, yet engrossing play. Bryan Cranston and Paapa Essiedu play father and son, and their bond is a tender and warm one. There is love and respect here that feels secure and unshakeable, even if they don’t see eye to eye on all things.
Marianne Jean – Baptiste‘s Kate is an absolute force from the moment we meet her, wordless in her yard in the midst of a storm. A mother who will never give up hope that her son will one day return. You can’t blame her, and yet, her demands that everyone live in accordance with this hope, regardless of what it will cost them, is unsettling. Her judgement, seething.
This is a modern-day morality play. It didn’t demand I make a judgment as to whether what Joe has done was right or not. Prioritising self-interest and the security of his family over that of others, or indeed, the families of those who died because of his actions. It is quite plainly wrong and Joe is not a redemptive figure in the slightest. That felt like the only disappointment, that it seemed never to occur to Joe till the final reckoning that perhaps the prize was not worth the price. But then, this isn’t so uncommon in these times, is it? That people convince themselves they are on the side of right and lose some of their humanity in the bargain.
As much as I didn’t find these central characters likeable, save Hayley Squire’s Ann, that isn’t the measure of a good play. Their characters are complex, marked by layers of tragedy, guilt and conflicting loyalties. It isn’t an easy watch, but it is a powerful one.
RELATED LINKS
Read our five-star review of ALL MY SONS at the Wyndham’s Theatre
NEED TO KNOW:
All My Sons screens as part of National Theatre Live from 16 April
