The Ride Down Mt. Morgan Essay Example For Students

The Ride Down Mt. Morgan Essay Is Arthur Miller really Americas finest living playwright, as the British like to tag him, or has he been conveniently drafted to serve that necessary function in the ecology of the English theatre? This country, after all, likes nothing better than lionizing American intellectuals and artists who have been either ignored or undervalued at home. Only two years ago, Stephen Sondheim found himself telling an Oxford University audience that he was glad to have worked on Broadway lest the English, in their adoration, hold him hostage forever at the National. Miller, by contrast, unequivocally embraces the worshipful British. We will write a custom essay on The Ride Down Mt. Morgan specifically for you for only $16.38 $13.9/page Order now Its a good thing too, since his new play, The Ride Down Mt. Morgan, now receiving its world premiere production at Wyndhams Theatre, is going to need all the good will that the British   or anyone else   can bring to it.Miller has been working on this play for most of the past decade and claimed to have found the ideal colaborator for it last season when director Michael Blakemore staged the belated London premiere of After the Fall at the National. Add in a producer, Robert Fox, and a star, Tom Conti, who are among the West Ends savvier participants, and the ingredients couldnt seem surer for success. The one thing no one apparently paused to assess was the fundamental illogic and wrongheadedness of the play itself.Mt. Morgan takes place in an upstate New York hospital, and the curtain rises on a bedridden Conti, his torso and arm in a plaster cast, looking as waylaid as he did on Broadway in his star-making performance in Whose Life Is It, Anyway? But this play, unlike its predecessor, doesnt keep Conti in bed for long. As Lyman Felt, the actor is soon rising to enact flasbacks and fantasy sequences that shift the time and place of the action and bring on such characters as Lymans lawyer friend-and-confidant and his shroud-bearing pickle-salesman father. Badly injured after a car accident on a mountain, Lyman learns to his distress that his hospitalization has brought together for the first time in nine years of bigamy his two wives: the older Theo (Gemma Jones) and the 30-ish Leah (Clare Higgins). What ensues begins as a comedy of morality and quickly collapses into an agonized sermon. Im miserable, lost, condemned, Lyman wails into the void, finally left with no one but the nurse (Marsha Hunt) for comfort. He cleverly leaves out the self-assessment which most audiences will all too happily make for him   Lyman Felt is an unabashed shit. I have to consent to Lyman and to condemn him, Miller told interviewer Melvyn Bragg in a TV special aired shortly after the Oct. 31 opening. But the condemnation barely exists. To be sure, each of the wives gets a you are monstrous diatribe, but they are hard to take seriously coming from such outright types. Theo is the repressed ministerss daughter, the high-minded gentile acted by Jones on a sustained note of shrillness; Leah, the libidinous Jew, is appealing in Higginss capable hands though no less a cliche. Its interesting to note that the casting fudges a potential source of odium: If, as the script indicates, there really is a two-decade age difference between Lyman and Leah, then the latter would be about the same age as his daughter by Theo, a parallel which makes his midlife lust seem particularly suspect. But Miller is far too interested in exonerating Lyman ever to put him on the rack.Director Blakemore has repeatedly shown a sympathetic deftness with new scripts that eludes him here. Perhaps the problem is just that Mt. Morgan has its sympathies wrong from the start. You dont have to love a plays central character for a play to work, but if youre going to make him so unpleasant, its best not to try and play the apologist, as well.No one could ever accuse David Hare of apologizing for his characters. .u9724c22f0ba847ed3b0603354e4d62fa , .u9724c22f0ba847ed3b0603354e4d62fa .postImageUrl , .u9724c22f0ba847ed3b0603354e4d62fa .centered-text-area { min-height: 80px; position: relative; } .u9724c22f0ba847ed3b0603354e4d62fa , .u9724c22f0ba847ed3b0603354e4d62fa:hover , .u9724c22f0ba847ed3b0603354e4d62fa:visited , .u9724c22f0ba847ed3b0603354e4d62fa:active { border:0!important; } .u9724c22f0ba847ed3b0603354e4d62fa .clearfix:after { content: ""; display: table; clear: both; } .u9724c22f0ba847ed3b0603354e4d62fa { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u9724c22f0ba847ed3b0603354e4d62fa:active , .u9724c22f0ba847ed3b0603354e4d62fa:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u9724c22f0ba847ed3b0603354e4d62fa .centered-text-area { width: 100%; position: relative ; } .u9724c22f0ba847ed3b0603354e4d62fa .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u9724c22f0ba847ed3b0603354e4d62fa .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u9724c22f0ba847ed3b0603354e4d62fa .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u9724c22f0ba847ed3b0603354e4d62fa:hover .ctaButton { background-color: #34495E!important; } .u9724c22f0ba847ed3b0603354e4d62fa .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u9724c22f0ba847ed3b0603354e4d62fa .u9724c22f0ba847ed3b0603354e4d62fa-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u9724c22f0ba847ed3b0603354e4d62fa:after { content: ""; display: block; clear: both; } READ: Greek Theater Essay This one playwright who loves figures of Good and Evil writ large, and it was the great achievement of The Secret Rapture in London to be that rare play to make Good the more dramatically provocative abstraction. Hares 1990 Racing Demon accomplished even more, using four South London clergymen as a prism through which to filter the most stirring state-of-the-nation piece Britain has seen in an age. Hares new play at the National, Murmuring Judges, continues the inquiry Racing Demon began its the second in a planned trilogy about British institutions   but this time the debate restricts rather than opens out. Billed as a work about the clergy, Racing Demon was much more than that; Murmuring Judges, though, really is just what the blurb on it says: a play about the law, no more, no less. Hare has certainly done his homework, and the work of his researchers (two receive credit in the program) is amply evident. Characters are forever spouting statistics theyd be unlikely to possess in real life, and declaiming position papers rather than holding conversations. By the end, one wonders whether the National bookstore should bother to stock the text or, instead, opt for a point-by-point agenda entitled Murmuring Judges: The Pamphlet. American theatregoers weary of the absence of politics in homegrown plays will have a field day here. In Hares legal world, all anyone does is opine; gone are the private lives that gave Racing Demon its troubling and heartbreaking pulse.The plot centers on Irina Platt (Alphonsia Emmanue), a black barrister   Antiguan by birth   defending a young Irishman wrongly imprisoned on a trumped-up bank-raid charge. Irinas soulmate is a white policewoman (Lesley Sharp) who similarlylearns that the system stinks. The play moves from Londons inns of court to the Royal Opera House, from a police station to a prison cell, and director Richard Eyre and designer Bob Crowley triumphantly orchestrate its cinematic sweep. The first act brings the disparate locales thunderingly together to the musical accompaniment of The Magic Flute   a staging coup of which both men should be proud.The actors tend to be better the smaller (and therefore less sententious) their roles, and its disconcerting to hear one character poke fun at Sally Field-style heroics when those describe precisely the actions of the two main women. Hare being Hare, Murmuring Judges has its share of bite: Theres a great what England does well Hare-angue, yoking a national facility for cream teas to a penchant for sending people to jail. But its the production, not the play, the warrants attention, as Eyre and Crowley steam confidently ahead long after the writing has run out of wind.