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A View From The Bridge - Duke of York's Theatre

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SYNOPSIS


A View from the Bridge

Nearly 3 years to the day since his death, Arthur Miller’s A View from the Bridge, will open in the West End in a major new revival. Directed by Lindsay Posner, the one-act drama is the story of Eddie Carbone, Miller’s modern day tragic hero. A View from the Bridge has not been seen in the West End for thirteen years and the cast will be led by Ken Stott, playing the role of Eddie Carbone.

Eddie Carbone is an Italian-American family man who puts his family first; there is a shelter over their heads and there is food on the table each night. However, and most crucially in relation to the play’s plot, Eddie and his wife Beatrice raised their orphaned niece, Catherine. As the play develops, Eddie’s feeling develop from paternal to something sexual and incestuous. When Beatrice’s two cousins arrive from Italy, Eddie is unable to cope with his jealously when he sees Catherine fall for one of the cousins, Rodolpho. Eddie faces a moral dilemma and his decision could prove fatal and have consequences for each and every member of his beloved family.

Lindsay Posner was the associate director at the Royal Court Theatre for five years at the beginning of the 1990’s where his production of Death and the Maiden was the recipient of two Laurence Olivier Awards. More recently, Posner has directed for theatres across the West End, as well as branching out across the country and overseas in America. He has recently finished directing Fool for Love at the Apollo, Tom and Viv at the Almeida Theatre and the highly acclaimed Fiddler on the Roof which after a hugely successful run at the Sheffield Crucible, transferred to the Savoy Theatre.

Ken Stott, who is to portray the role of Eddie Carbone, spent his early years in his career working for the Royal Shakespeare Company. Since then, Stott has had several notable roles in television dramas including the BBC crime drama Messiah, the ITV police drama The Vice and portrayed Adolf Hitler in Uncle Adolf. He has continued to work in the theatre and recently performed in the West End run of God of Carnage, alongside Ralph Fiennes. Beatrice Carbone is to be performed by Mary Elizabeth Mastrantonio who came into the spotlight portraying Gina in Brian DePalma’s Scarface in 1983. She has since been an award-winning theatre actress, most recently starring in the Grand Hotel in the West End.

A View from the Bridge opens 5th February 2009 at the Duke of York’s Theatre.

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Venue Information

TRAVEL Nearest Tube: Leicester Square (Northern/Piccadilly lines) Turn right up Long Acre, and turn right again at the first major junction for St Martin's Lane. The theatre is about 150m on the right. Rail: Charing Cross - Northern line north to Leicester Square Kings Cross/St Pancras - Piccadilly line west to Leicester Square Paddington - Bakerloo line south/east to Piccadilly Circus, Piccadilly line east to Leicester Square Victoria - Victoria line north to Green Park, Piccadilly line east to Leicester Square Liverpool Street - Central line west to Holborn, Piccadilly line west to Leicester Square Marylebone - Bakerloo line south/east to Piccadilly Circus, Piccadilly line east to Leicester Square Waterloo - Northern line north to Leicester Square Parking: Westminster City Council Car Parks Trafalgar Square. NCP St Martin’s Lane. Parking in central London can be difficult and expensive. Please use public transport. ACCESS Wheelchairs: Max 2 users per performances. Spaces and transfer seating available. Hearing Impaired: Infrared headsets available. Newly installed Sennheiser loop system. ADMITTANCE POLICY Regrettably babies and toddlers will not be admitted to the theatre. Children aged 5 years and over will be admitted and, more specific age limits may apply depending on the production. Children should be able to sit, unaided, in their own seat and be attentive to the performance so as not to distract other paying members of the audience. There are no latecomers admitted until the interval for No Man’s Land. Admittance to the auditorium is always at the discretion of theatre management.

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