In Arthur Miller’s riveting masterpiece, two estranged brothers must try to make peace with their past when they meet to dispose of their late father’s belongings. May 9 – May 26, Thursdays, Fridays and Saturdays at 8 p.m., and Sundays at 2 p.m. International City Theatre is located in the Long Beach Performing Arts Center, 330 E. Seaside Way, Long Beach, CA 90802. For tickets and info call (562) 436-4610 or go to InternationalCityTheatre.org.
The Price
Reviews
The International City Theatre mounts sturdy, structured and splendid productions of nearly every play it presents.
With his strained gait and lively Russian-Yiddish accent, Tony Abatemarco gives a stunning performance as the 90-year-old furniture dealer Gregory Solomon; I’d thought he was playing a man close to his own age, but, judging by his head shot in the program, his character is actually considerably older than he.
His is certainly not the only impressive performance, however. Nevell and Elyse Mirto, as Esther, seem to have such an easy-going, familiar relationship, and their New York accents are authentic and avoid caricature. Foxworth embodies Walter’s arc well– first, presenting him as the self-possessed success story, then revealing him as the guilt-ridden brother who had escaped from a complicated mess that is unearthed in the second act.
“The Price” emerges in ICT's superbly acted production, as one of Miller's best. At its heart it is an exploration of our need for illusions because, in Miller's words, the truth is too terrible to face.
Directed with hoary elegance by John Henry Davis, with a stunningly evocative scenic design by Yuri Okahana; credible costuming by Kim DeShazo; indispensable property designs by Patty and Gordon Briles; and with appropriate sound and lighting designs by Dave Mickey and Dan Weingarten, respectively — this ICT production of The Price is brought to life by a four member cast, which includes David Nevell as Victor Franz; Eylse Mirto as Esther Franz; Bo Foxworth as Walter Franz; and Tony Abatemarco as Gregory Solomon — all of whom carve meticulous portrayals of Miller's complex characters.
Credit goes to the actors who make believable the interference from the old man and the ultimate showdown telegraphed from the start.
The Price, under the sure-handed direction of John Henry Davis, has a cast that plumbs the depths of emotion with world-class assurance, surfing the surging and relaxing waters of passion with skill and confidence.
The Price may not be the absolute masterwork that All My Sons and Death Of A Salesman remain to this day, but that doesn't make it any less revelatory of Arthur Miller's trademark play-writing gifts. Even half a century after its Broadway debut, its depiction of the price we pay for the choices we make delivers one powerful punch to the gut.
The International City Theatre mounts sturdy, structured and splendid productions of nearly every play it presents.
With his strained gait and lively Russian-Yiddish accent, Tony Abatemarco gives a stunning performance as the 90-year-old furniture dealer Gregory Solomon; I’d thought he was playing a man close to his own age, but, judging by his head shot in the program, his character is actually considerably older than he.
His is certainly not the only impressive performance, however. Nevell and Elyse Mirto, as Esther, seem to have such an easy-going, familiar relationship, and their New York accents are authentic and avoid caricature. Foxworth embodies Walter’s arc well– first, presenting him as the self-possessed success story, then revealing him as the guilt-ridden brother who had escaped from a complicated mess that is unearthed in the second act.
“The Price” emerges in ICT's superbly acted production, as one of Miller's best. At its heart it is an exploration of our need for illusions because, in Miller's words, the truth is too terrible to face.
Directed with hoary elegance by John Henry Davis, with a stunningly evocative scenic design by Yuri Okahana; credible costuming by Kim DeShazo; indispensable property designs by Patty and Gordon Briles; and with appropriate sound and lighting designs by Dave Mickey and Dan Weingarten, respectively — this ICT production of The Price is brought to life by a four member cast, which includes David Nevell as Victor Franz; Eylse Mirto as Esther Franz; Bo Foxworth as Walter Franz; and Tony Abatemarco as Gregory Solomon — all of whom carve meticulous portrayals of Miller's complex characters.
Credit goes to the actors who make believable the interference from the old man and the ultimate showdown telegraphed from the start.
The Price, under the sure-handed direction of John Henry Davis, has a cast that plumbs the depths of emotion with world-class assurance, surfing the surging and relaxing waters of passion with skill and confidence.
The Price may not be the absolute masterwork that All My Sons and Death Of A Salesman remain to this day, but that doesn't make it any less revelatory of Arthur Miller's trademark play-writing gifts. Even half a century after its Broadway debut, its depiction of the price we pay for the choices we make delivers one powerful punch to the gut.