Although playwright Arthur Miller is known for his masterpiece, Death of a Salesman, it is curious to note why his earlier work, All My Sons, isn't revived more often. To this reviewer's mind, it has all the elements that elevate Salesman to a higher artistic level. In its own way, it seems like a more difficult play to do well. However, one needn't have worried about the production that recently opened at the Milwaukee Repertory Theater. From start to finish, the show is mesmerizing. That's to the credit of the talented cast and director Paul Barnes. He expertly creates a world that is, at first, the most Norman Rockwellian of neighborhoods.
The first scene is set in the backyard of the Kellers, a relatively well-to-do family. The Kellers' neighbors take time to drop in for a chat or a glass of lemonade. The banter is light -- the weather, the news, the typical things of daily discussion. Aside from a tree that has blown over in a storm the previous evening, all seems well. It isn't until we are fully introduced to the characters that we realize these people have all been trapped in a time warp. A favored son, Frank, was reported missing in the war three years ago. His mother, the fragile Kate, holds out hope that her lost lamb will find his way home. His father, Joe, a practical businessman, has long since put his son to rest. He focuses primarily on his other son, Chris. When Chris returned from the war, he promptly joined the management team at his father's plant. A doctor who lives next door to the Kellers is also in a trap of sorts. He reveals that, at his wife's urging, he never pursued his love of research. Miller expertly lets us know if and when the healing has begun.
Chris, the play's optimist, decides to marry his brother's former sweetheart. Rep newcomer Tim Decker makes a knockout first impression as Chris. Looking a bit like a cross between TV actor Jim Sagat and movie actor Bill Pullman, Decker brings a natural ease to his character. His beloved Annie, beautifully created by Jenny McNight, is yet another impressive newcomer to the Rep stage. Annie's character is not as fully developed as Chris', yet McNight is lovely and smart enough to make it easy to see why Chris wants her.
However, just as Salesman belongs to the tired old father who plays the title character, All My Sons hinges on Joe. Jim Baker, as Joe, creates a wonderfully balanced portrayal of a practical man. Although Joe remarks frequently about his limited education, it doesn't keep him from using a particular situation to his advantage. Because Joe cannot connect emotionally with the day-to-day lives of those outside of his immediate family, he does not take responsibility for his role in the war effort.
As Kate, Rose Pickering delivers one of her best performances. Director Paul Barnes reigns in Pickering's tendency to play characters a bit larger than life. Kate is a key member of the household. Like Joe, she is torn between her family and her knowledge of a terrible truth. Beyond the Keller family, Jonathan Gillard Daly delights as the hen-pecked doctor, and Jeannie Naughton is believable in her thankless role of a nagging wife. Despite his relatively brief appearance, Christopher Marshall shines as Ann's brother. He attempts to take his sister away from the Keller household, but she holds firmly to her convictions. One wonders what will become of her after the final curtain comes down.
As usual, production values are top-notch. This is particularly true of the authentic-looking set, filled with circa World War II props, and the spot-on costumes. The dinner dresses created for Ann are particularly worth mentioning. In sum, All My Sons strikes all the right notes. It is a play for all seasons and is especially relevant now, as America prepares to face another war.
