THE PRICE

Marylebone Theatre

★★★★

“as a theatrical performance, it is priceless”

‘The price we have to pay’ is an often-used aphorism, not just in literary form, but in everyday conversation. Arthur Miller shortened it to just “The Price” for his 1967 two-act play. He could have maybe done with shortening the text a little as well, but this searing family drama is so packed full of themes, tensions, memories, grudges and secrets that the dialogue resembles the ramshackle, claustrophobic and cluttered attic in which the action is set. An attic filled with heirlooms and keepsakes; each with its own significance.

The mind of a man is “like a bric-a-brac shop”, Oscar Wilde once quoted, “all monsters and dust”. The first thing we see as we enter the auditorium is Jon Bausor’s astonishingly well-crafted set, which is at once a literal New York brownstone attic, and a metaphor. As the dust sheets are peeled away, the monsters appear. They haunt their protagonists over the next two and a half hours of real-time action that paints a very vivid picture of four disparate and desperate characters.

New York cop Victor Franz (Elliot Cowan) turns up at his late parents’ house where all the possessions are cramped into the attic that his father retreated to after the tragic death of his mother. He has a date with nonagenarian antique dealer Solomon (Henry Goodman) who has come to cast his Machiavellian eye over the goods with a view to slapping a price on the job lot. The first act focuses on the wrangling and haggling – not just between Victor and Solomon, but also with Victor’s wife Esther (Faye Castelow) who has her fair share of input and opinion. In act two, Solomon spends much of the time out of sight (but not out of mind) while the arrival of Victor’s estranged brother Walter (John Hopkins) really gets those dust motes flying through the air. More like a ricochet of bullets as family secrets are fired at each other. The characters actions and reactions shift like an accordion’s bellows, and we wonder at times how the whole concertina doesn’t get ripped apart completely.

Cowan’s Victor is a finely portrayed figure of lapsed principles, swamped by his own sense of mediocrity. Having dropped out of university to care for his father, his own disappointment is surpassed only by his wife’s. Esther is probably the least sympathetic character, but Castelow gives her exasperation justification that we ultimately warm to. Meanwhile, sleek and successful Walter returns after sixteen years. The concertina effect once again comes into full force as the brothers repeatedly move towards reconciliation, but in a short cruel and discordant breath they are then pulled apart once more.

The performances are spot on, each cast member skilfully grappling with Miller’s dialogue. The star turn is Goodman, who plays his part with relish. Bordering on caricature, there is something almost Biblical about the character that gives his name extra significance. Loaded with tenuous wisdom and comic relief, he is part arbitrator and agitator; untrusting and equally sly. There is a distinctive lack of resolution to the play, perhaps because there are too many reveals along the way. The brothers end up pretty much where they started but with more hindsight and insight. They have revealed long hidden truths about each other and their late parents and now know the price they have paid for their past sacrifices. Whether they can afford it is the one thing that still rents them apart.

Director Jonathan Munby’s staging complements the script, allowing the light and the shade to vacillate in time to Anna Watson’s subdued and atmospheric lighting. Max Pappenheim’s filmic score pulls tension back and forth like a dangerous undertow. Ultimately, all the bric-a-brac in the attic is sold, but the true, emotional legacy can never be shaken off, whatever the price. We have sat through a long evening and taken on a lot of emotional baggage. But as a theatrical performance, it is priceless.

THE PRICE

Marylebone Theatre

Reviewed on 23rd April 2026

by Jonathan Evans

Photography by Mark Senior

THE PRICE

THE CRUCIBLE at the Gielgud Theatre

★★★★

“A parable that certainly stands the test of time, its shadows crossing the centuries and still looming large today”

If you (falsely) confess to the charges levelled at you – your life is spared. If you (truthfully) deny them, even though the evidence is based on little more than mass hysteria, you will be hanged. A warped message, but one that resonates today, albeit in an exaggerated way. Arthur Miller’s “The Crucible” is based on the Salem witch trials of the 1690s but he openly presented it as an allegory for McCarthyism, when the US government persecuted people accused of being communists. Lyndsey Turner’s atmospheric revival stays faithful to Miller’s seventy-year-old classic, while allowing the audience to draw their own parallels with our contemporary world of cancel culture, social media groupthink and perceptions of reality. It sounds heady stuff, but the beauty of Turner’s interpretation is that these worries are triggered by straightforward, authentic and, at times, chilling drama.

There is no safety curtain in this production. Instead, a wall of rain pre-sets the action that unfolds on Es Devlin’s simple and sepulchral set. Tim Lutkin’s lighting casts whispers of horror while Tingying Dong’s soundscape illuminates the menace with the aural equivalent of dying candles. The young girls, innocent in appearance, writhe in unison, led by ringleader Abigail (a compelling Milly Alcock). It matters not whether their possession by the devil is real or not. The fatal effects on their elders – the supposedly authoritative members of society – are what propels the narrative. The outcome is guided by superstitions, and by unenlightened minds that eschew truth and reason in favour of their self-interested goals. The familiarity is sometimes uncomfortable as the focus regularly shifts from the accused to the accusers. The term ‘witch-hunt’ has become such a cliché, but Turner’s rich interpretation refreshes it without uprooting it from its origins.

The heart of the story, and it’s strongest moments of pathos, stem from joint protagonists John Proctor and his wife, Elizabeth. Despite John’s dubious backstory and the marital discord, it is the redemptive qualities of their relationship that restores our faith and offers a fragile hope. Brian Gleeson has the charisma to marry Proctor’s rebellious defiance with a gentle dignity, ultimately admitting guilt to protect his wife and children. Caitlin Fitzgerald’s Elizabeth has a matching dignity, made stronger by the knocks it needs to withstand. Their scene together towards the climax of the show is a quiet moment of heartbreak that stands out above the wolflike baying.

Milly Alcock’s manipulative Abigail swings from endearing to malicious in a captivating performance, matched by Nia Towle’s Mary Warren, a fellow accuser who, too late, shows flashes of conscience. The voices of reason are mercifully heard above the clamour. Such as Tilly Tremayne’s Rebecca Nurse and Karl Johnson’s tragicomic portrayal of Giles Corey who exposes alternative motives for the trials. Accusations fly as irrationality poses as righteousness. Fisayo Akinade’s Reverend John Hale both embodies and exposes this in a remarkable performance that pins down disillusionment in the face of corruption and abuse.

At just under three hours the pace never seems slow. Miller’s language – its rhythms and patterns – can take the credit, but it has to share it with a tremendous company that honours the writer’s intentions. A parable that certainly stands the test of time, its shadows crossing the centuries and still looming large today. This revival is as dark as those shadows but is a shining example of how theatre can light up our lives.

Tag Archives: Arthur Miller

THE PRICE

★★★★

Marylebone Theatre

THE PRICE

Marylebone Theatre

★★★★

“as a theatrical performance, it is priceless”