Roundabout Theatre Company’s revival of Arthur Miller’s first successful play is as fine a production of a Miller play as I ever hope to see. All the elements — casting, direction, scenic design, costumes, lighting, sound design and projections —are near perfect. Tracy Letts (Who’s Afraid of Virginia Woolf), Annette Benning (Spoils of War, Coastal Disturbances) and Benjamin Walker (American Psycho, Bloody Bloody Andrew Jackson) all give performances that I will not soon forget. Francesca Carpanini (The Little Foxes), Hampton Fluker (Too Heavy for Your Pocket) and Michael Hayden (Judgment at Nuremberg) are solid in feature roles, as are Jenni Barber (The Nance), Monte Greene, Nehal Joshi (School of Rock) and Chinasa Ogbuagu (Her Portmanteau, Sojourners) in supporting ones. Together they convincingly portray a close-knit community. Director Jack O’Brien (Carousel, The Hard Problem) uncovers a depth and breadth in the play that I had not found in previous productions. He also knits the various subplots together with uncommon skill. Douglas W. Schmidt’s (Into the Woods, The Front Page) set depicts an idyllic Midwestern yard and house facade. Jane Greenwood’s (She Loves Me, Major Barbara) costumes capture the period well. Jeff Sugg’s (Sweat, Bring It On) projections are used sparingly but effectively. Miller’s depiction of the dark side of the American Dream sadly remains as relevant now as it was in 1947. Today it may be a group of anonymous Boeing executives who are putting unsafe planes in the air instead of an individual parts supplier, but they are motivated by the same corrosive greed. Rarely have I been in an audience that was so totally involved. It is definitely one of the dramatic highlights of the season. Running time: two hours 20 minutes including an intermission and a brief pause.
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