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The Price
By Judi Uthus

Why perform Arthur Miller's The Price in the 21st century? What patron conditioned to the 21st century's sound bytes and flash would appreciate a single-set, four-character, two-plus-hour play drenched in dialogue?

One with a family might.

A classic American drama, not as well-known as the playwright's Death of a Salesman, Tony-award winning The Price is considered by Miller fans to be one of his most poignant plays. Centered on issues of aging parent care, sibling rivalry and economic roller coasters, The Price is just as relevant today as when it was first produced in 1968, maybe even more so as our aging society faces economic hardship and families rely on each other once again. Miller spotlights the value of these relationships and how they can create conflict with personal paths and choices.

Despite its relevance to the present, this 60's version of Arrested Development could only engage today's audience with an exceptional performance. Theatre West's Stu Berg is directing The Price for a second time using the company's seasoned stars from stage, screen and television to accomplish the flamboyant theatrics of Miller's entertaining play.

The play opens with Vic, a policeman who sacrificed higher education to care for his father while his brother completed his education and became a successful doctor. Sixteen years after his father's death he is in the attic of their old home designated for tear down, waiting for an antique dealer to liquidate the estate's furniture. He amuses himself playing an old record of laugh tracks, which sets the stage for the uncontainable emotions that will erupt when he, his wife Esther, brother Walter, and even the antique dealer Gregory confront each other over the value of not only the furniture but of life's choices and family relationships. As Miller notes, "What is the price of letting go of the past?"

Played by Cal Bartlett, Vic's demons take center stage as he revisits the attic from his past while facing decisions of retirement that are just around future's corner. Bartlett's dialogue-laden role is weighty, yet he delivers it with compelling style. Accelerating the play's momentum is character actor Marvin Kaplan who plays the 89-year old antique dealer Gregory Solomon and befriends the policeman. His animated character, a hybrid of Mr. Magoo and Elmer Fudd, is wery entertaining indeed. Not only is he fun to know but his sage insights extend beyond the pricing of items in the old attic to thought provoking assessments of life itself. In discussing the value of the solid, quality dining table too large to get through most modern apartment doors, the old dealer tells Vic why it will be hard to sell, "This table represents one that won't break--there are no more possibilities left. When a man sits at a sturdy table like this, he knows he will have to stay married."

The roles of Esther played by Dianne Travis and Walter played by Don Ross are convincingly real and demonstrate traits of relatives that the audience can undoubtedly compare to their own family members. The confrontations between husband and wife and the two brothers examine the price paid for their decisions and the quality of life that results from those decisions. Vic responds to his brother after listening to his opinion of his life, "What are you saying, I'm a 60-year old mistake?"

What makes The Price great theater is how Miller extracts the complexities of individual character in forming relations. Theatre West placed their spotlight perfectly on a story that will never become obsolete as long as we have family. The play runs through March 21. Theatre West is located at 3333 Cahuenga Boulevard in Hollywood. For tickets call 323-851-4839 or visit www.theatrewest.org

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