South End News, Thursday, August 12, 2004

'Price' is Right
Stanley B Theatre scores with Arthur Miller classic

By Jules Becker, Cotnributing Writer

The 1930's Great Depression financially ruined Arthur Miller's manufacturer father. The major now 80-something playwright probably reflected on that misfortune as he wrote his 1949 master work "Death ofa Sales- man." He surely had it in mind as he wrote what is arguably his last important play thus far, "The price," a revival of (sometimes) true value in the Stanley B. Theatre's staging at the Devanaugh Theatre.

In this often visceral 1968 drama, Miller brings together two very different and distant brothers, Victor and Waiter Franz, to ponder the disposition of their late fatheis houseful of furniture and family items as the setting, an old New York building, awaits demolition. Off-beat near-ninety veteran dealer Gregory Solomon observes that legacies often precipi- tate family rifts. Yet the division between the brothers in question has all to do with the un- explored resentment and hurtthe pieces recall rather than with their monetary value.

or retirement-considering policeman Victor, the issue is moral debt--namely, his sacrificing finishing school to take care of their Depression-ruined businessman father. Physiciall Waiter, disputing his brother's take on fa mily re spo nsibi lities, ins ists that the patri- arch was a survival-obsessed manipulator who actually lived off of a hidden stash of $4,000 (a considerable sum in earlier days). Victor's practical wife Esther hopes the money frolI1 the sale or from a tax write-offWalter proposes will give them a midlife new start but she also means to serve as peacemaker between the brothers.

In some ways, "The Price" seems an in- triguing variation on "Salesman." Successful Walter somewhat resembles Happy in the ear- lier play, while Victor's professional discontent calls to mind father-dominated Biffs own iob difficulties. If"The Price" does not have the haunting power of"Salesman," it nevertheless proves a moviIlg commentary on the fragility of family ties and the complex nature of life's possibilities.

The Stanley B. revival gets the metaphori- cal associations with individual items right, es- pecially Victor's fencing foils and gauntlets and a distinctive harp once played by the brother's mother, thanks to a fairly detailed set. What designer Keith Remon fails to nail down is Solomon, the pivotal and flashiest character in the play. Remon looks far too young as the ailing but tenacious dealer; also, his makeup needs work as well as his shaky accent as the Russian-born Jewish emigrant. Director Rose Carlson, who paces the play well, needs to work with him on makingthe dealer the memorable character he should be.

She does much better with the siblings. Jeff Gill effectively catches both Waiter's initial disarming heartiness and his growing anger towards Victor. Bruce-Robert Serafin is the standout as Victor, combining the policeman's deep caring for Esther, his ambivalence about Solomon's method of reaching "the price" of the household, and his fiery attitude towards his brother.

Lisa Caron Driscoll has her moments as Esther, particularly as she alternately supports Victor in his discussions with Solomon and Waiter as he seems ready to patch up his differences with Victor. She needs more understatement, though, in her somewhat overly busy stage movement. Miller frames his family drama with a "laughing record" (recorded laughs on vinyl played on a crank-up victrola) played first by Victor and finally by Solomon. Is life an absurd farce or old-time comedy in which all humans make formidable deci- sions about life's choices? At least during the stronger second half of the Stanley B.'s affecting "The Price," the value of the deal is properly high.

"The Price," at Stanley B. Theatre, Devanaugh Theatre Co., Inc. Boston, through August 29. Call 617-931-2787 for more information.