All My Sons
Reviewed by Lara J. Altunian
The Lounge Theatres
Through May 12
RECOMMENDED
Arthur Miller’s All My Sons takes a close look at a family shattered by the effects of the war, but whose older members attempt to live as though their lives have remained the same. However, such lies are difficult to maintain, and the characters are forced to deal with the reality of their actions, and of the changing world at large.
It is 1946, and Kate Keller (Francesca Casale) is struggling to let go of her firstborn, Larry, who went missing three years earlier in the war. She argues tirelessly with her younger son Chris (Jack Tynan) that Larry survived and will soon come back home. Chris insists that he is dead and gone, and wants the Kellers to move on with their lives. Father-figure Joe (Mark Belnick), agrees with Chris, but plays referee to try and keep the peace.
Part of what fuels Kate’s insistence is the fact that Larry’s girlfriend, Ann Deever (Alexis Boozer Sterling), has not gotten married in all this time. She pays the Keller home a visit upon Chris’ request, and it is revealed that the two have been secretly exchanging letters for a couple of years. Chris tells his father that he intends to propose marriage to Ann without his mother’s immediate consent.
Meanwhile, Ann’s brother George (James McAndrew) decides to make an unexpected trip out to see their father, Steve, in jail. Steve used to be Joe’s business partner, but was sent to prison in 1943 for shipping out faulty aircraft parts, which led to the crashing of 21 pilots. Joe was also arrested, but was exonerated the next year. Steve, who carries the blame, has been shunned by both of his children who refuse to communicate with him—until now.
As the members of the two families gather together to discuss the events that have shaped their lives over the last few years, truths are revealed and their personal circumstances come to a head in a heart-wrenching, but justified conclusion.
The play’s first act is a bit slow. A lot of time is taken to set up the characters’ viewpoints and personalities, as well as the families’ ongoing daily battles. As soon as the hot-headed George shows up however, the story takes off. Though some of the discussions feel a bit repetitive, it seems to go with the cyclical nature of Kate’s three year–long denial and Chris’ attempts to break her out of it. The dialogue is strong and powerful and when well-delivered, packs a punch that properly addresses the gravity of each unfolding, new situation. Although some (but definitely not all) of the conclusions are predictable, the way in which they are revealed still makes the plot engaging.
Casale’s Kate steals the show as the loud-mouthed, mother-knows-best matriarch. Many of the arguments she triggers keep her and Joe’s marriage feeling realistic despite their attempts to skid through life’s storms. Belnick’s performance was more uneven, tripping through many lines on the night I saw the play. Furthermore, his choice to portray Joe as wimpy sometimes works with his character’s unsteady, yet intentionally easy-going attitude, but otherwise makes him seem one-dimensional.
Tynan is well-cast as the forward-thinking and idealistic Chris, eager to break out of his family’s false sense of security and do what is right in order to create an honest future for he and his hopeful-wife. Sterling also does well in her presentation of Ann as a poised, but intelligent woman who knows what she wants without feeling jaded despite dealing with a jail-bound father and dead lover. As George, McAndrew adds the necessary amount of heat to break up some of the happy-go-lucky vibes that begin to build up toward the beginning of the second act, which hover around Chris and Ann’s blossoming relationship. Adding to that is Jessica Moreno’s work as the Kellers’ pokey neighbor, Sue Bayliss, who first helps disrupt the happy couple’s love-dazed mood with a poignant and revealing fact of her own right before George’s arrival. Her character also adds plenty of welcome humor during each of her few on-stage appearances.
Gary Lee Reed’s direction makes full use of the small space within The Lounge Theatres, bringing the action up front when necessary, and keeping the stage from feeling crowded, even when there are more than five bodies inhabiting it at once. Pete Hickok’s scenic design and Shon LeBlanc’s costumes equally keep the 1940s look cohesive, while Derrick McDaniel’s lighting helps the day-to-night transitions feel natural.
This play, Miller’s first big success, was brought up during his trial before the House Un-American Activities Committee in the 1950s for its criticism of the American Dream. Though written in the 1940s, it seems so relatable again, as many people blindly fight for a president who continually promises a return to those times, even though it’s clear we can never go back. The play succeeds as a reminder of our struggle against history’s repetitive nature, and as a warning to stay true to oneself in times of trouble and deception.
The Lounge Theatres, 6201 Santa Monica Blvd., Hollywood; Fri.-Sat., 8 p.m.; Sun., 3 p.m.; through May 12. (323) 469-9988 or https://www.goldstar.com/events/los-angeles-ca/all-my-sons-tickets. Running time: two hours and 10 minutes with one 15-minute intermission.
