A version of ‘Bridge View’ summons the ghost of Arthur Miller to defend the migrant

We are in the neighborhood of Red Hook, overlooking the bay and the sea, right on the corner of the Brooklyn Bridge. It is a great receptor for goods and people around the world. Now we are civilized enough, we feel American enough. We’re adapting to the myth and I like that. I don’t have a gun on me. And my work abogado contains nothing romantic,” describes the narrator of this work, the story of Alfieri (Francesc Galcerán), in his composition.

It was the same New York that was now, as usual, chasing undocumented migrants, from where it also brought Puerto Rican director Javier Molina.

“The truth is, my life has always been hard, it hasn’t changed much. I get up, put on my shoes and go on the same journey. But what is happening now is true. This is where one takes away from the American dreama better life for your family with the idea that your children can do what they can’t and find out that people don’t want that. It doesn’t mean that the dream won’t come true, but it won’t be easy,” he comments for El Cultural.

The current artistic director of the Actors Studio, which at the time featured the likes of Marilyn Monroe, Paul Newman and James Dean, is coming to Spain to direct a new cut of this emblematic Miller work that much of the search is directed towards him. The story of the hairdresser Eddie Carbone (José Luis García-Pérez), who lives with his wife Beatrice (María Adánez) and his niece Catherine (Ana Garcés), when the daughter of two illegal immigrants married relatives of his wife Marco (Rodrigo Poisón) and Rodolfo (Pablo. Béjara family).

“We are in for a love and family tragedy, pure Miller style at best, “There is a great conflict in the characters who cannot control their fate,” explains the playwright Eduardo Galán, responsible for the version of the work. “It’s interesting to see an author who is always concerned with human problems explore Eddie’s special relationship with his disembodied sobriety.”

I think you’re a bad person, this person, Molina comments in the greeting, “he is a good person, a worker, someone who does everything for the family, but he loves his niece so much that he suffocates her. Ah, this is where one sees the biggest mistakes in life and where one’s problems begin when one is deeply rooted in one’s ego and thinks one knows what is best for everyone.’

“The actor’s work is exposed because what is written is the only thing that can pass.” Javier Molina

Strenada el pasado black at Teatro Calderón de Valladolid, The script by Fernán Gómez will take place from April 16 to May 17, This work we transferred to New York of the 1950s with a realistic proposal divided into four spaces: the star comedian of the family, the walk with the fire ladder, the sending of Alfieri – whose character acts as the enabler of the story and Miller’s alter ego – and the call for what it will be used for, including the butaque terrace.

Molina, who follows the Actors Studio method, has worked with the department since his own life. “For me it’s a game to find the truth – he says -. Yo.” I care a lot about them considering Arthur Miller and who he wrote, but I don’t want to forget that the actor interprets him more because that’s how it’s spelled.”

“For me, the work of the artist is to reveal why he is the only one who can appear. What do I want to do so that every moment he rises from a real place? In this way, only the one who is written can give the answer. But not because Miller wrote it that way, but because he encountered it in his life, in his thoughts and in his experiences.”

And in this match, Miller deftly pulls off all the impulses of his characters as the economic situation and possible deportation weigh on them all in different ways. “It is a realistic work that appeals to the conscience. Don’t have a free moment. Dialogues are always free”, comments Galán, who worked on the real-life version, eliminated some secondary characters and shortened the big hits.

deep down Panorama from the bridge It works as a claustrophobic experience. More than two thousand million Latin Americans live in NYC today. There are three million cases in Madrid. “Transcurred in New York, but can be read elsewhere. What is happening in Europe? What was the attitude of Europeans before migration movements? The work is surprisingly very valid and up-to-date. In these problems, but also in the human terrain,” says Galán.

“Así es la vida, ¿verdad? What have you been through, continue to pass on today.” Most of these people are people trying to save their family, but it’s not on friday I’m thinking that when I’m in Madrid, I’ll change the immigration agents’ clothes and their masks a bit to make it more like I’m driving through the United States with ICE agents,” jokes the director. As one of Miller’s characters in this 1955 piece goes: “Hay infiltrated immigrants through all the trees in this neighborhood.