The action starts just a few minutes before the opening scene of Arthur Miller’s, A View From The Bridge, directed by Emily Vaeth, transporting the audience back to 1950’s America in an Italian-American neighborhood of Red Hook, Brooklyn.

The set design, created by Ian Fried, is cleverly appointed as the intimate space reveals the basement apartment (reminiscent of the time) of Eddie, played by Tim Smith, Beatrice (Bea), played by Camille Arnone, and Catherine, played by Jules Donohue. The interior scenes are surrounded by streets and the law office of Alfieri, played by Derek McLaughlin, who also serves as the Narrator seamlessly taking us from scene to scene.

In the first few lines of the play, Alfieri, as Narrator, breaks the 4^th wall preparing the audience when he speaks, he is speaking directly to us. He presents the struggles in Italy of the time and the desire for a better life in America.

The prevailing themes we explore are Family, Immigration, Loyalty and ultimately, betrayal.

We first meet Beatrice, Catherine and Eddie in their basement apartment. Eddie is the Patriarch of this family unit. Catherine’s mother passed away and since then, Eddie has taken on the Paternal responsibilities in raising her. He struggles with her transitioning from a young girl into a fully functioning adult with dreams of getting out into the world, working and helping to support her family. His fatherly role evolves into a full obsession as he incessantly tries to persuade her to just stay home.

Enter Bea’s two cousins, Marco, played by Andrew Accardi, and Rodolpho, Played by John McGowan, who have come to America illegally, to work and have a better life. Eddie makes it clear that Bea and Catherine can say nothing to anyone about how they came to America or they will be deported. Marco’s sole focus is work and sending his wages back to Italy for his ailing wife and family. Accardi effectively presents a distinct character with a strong work ethic and dedication to providing for his family. Rodolpho is endearing and openly honest. He is immediately smitten with Catherine and the feeling appears mutual. Eddie picks up on the attraction and clearly, is not pleased. It becomes obvious he will do anything to dissuade Catherine from getting further involved with Rodolpho.

The casting was meticulous as each character is uniquely defined, and each start the play with a slow simmer that builds into a delicious boil.

Bea, the often-stoic homemaker, struggles with Eddie’s obvious obsession with Catherine. Arnone delivers a multi-layered performance that brilliantly walks the line of jealousy and gratitude for the home Eddie has provided for the three. Her inner conflict becomes an ultimate showdown as Eddie draws a line in the sand on Catherine’s wedding day. She offers subtle inuendo to Eddie as to the basis of his obsession and disdain for Rodolpho who Eddie describes as, “not right” to anyone who will listen. Bea is also trying to counsel Catherine telling her she is no longer a girl; that she is a woman and should move out on her own.

Eddie continues to unravel, inferring Rodolpho is not manly, because he is blonde, likes to sing, buys records, and makes dresses. “If you close the paper too fast, he can blow away”. The audience might for a moment consider that Rodolpho may only be looking for a Green Card, but his love for Catherine proves genuine. As tensions continue to rise, McGowan delivers an impeccable performance navigating all the facets of Rodolpho.

While Eddie’s obsession with Catherine intensifies, it is obvious he is not going to admit how insidious it has become. Smith’s portrayal of Eddie is powerful as he navigates the relationships he is responsible for uprooting. In the ultimate betrayal, with the weight of the world on his shoulders, Eddie turns against himself and everything he believes in, and it doesn’t end well.

Donohue delivers a solid performance, adept at presenting her girlish adoration of Eddie, and her womanly love for Rodolpho. Throughout, Catherine is in constant conflict between the two and Donohue masters both perfectly.

Every detail of this production was meticulously executed. The intimate theatre space allowed the audience to feel they were part of the action. The lighting by Dan Kani, provided an authentic atmosphere from inside to the exterior streets. There were no stand-outs in the cast as each were distinct and flawless. The set design was understated yet exactly what the audience needed to understand the setting of each scene.

I highly recommend taking the time to see this production of A View From The Bridge presented by Modern Classics Theatre Company and BACCA located at 149 N. Wellwood Avenue, Lindenhurst, NY. 11757. For tickets and information, please call 516-236-5838. Performances: July 18,19, 20, 25, 26, 27. Visit MCTC website at MCTLI.com for specific dates and times.