A View of A VIEW FROM THE BRIDGE with Chorus Member Laura Watson

One of Director Adam Adolfo's goals in the bold staging of A VIEW FROM THE BRIDGE includes the inclusion of a 'community Greek chorus'. Today we blog with a member of the chorus, Laura Watson, as she share's with us her insight into this take on the modern Greek Tragedy.

One of the many hats I wear, in addition to working actor, is the as the (dreaded) theatre critic. But the reason I do it (despite the obvious conflict of interest it can create inside this tight knit theatre community of DFW) is more than a compulsive need to share my humble opinion which I respect very much. Imagine- it’s actually my job to sit and watch theatre! To react as I see fit- with laughter or tears, and at times loathing. I am asked by both the production and my readers to go with complete abandon on whatever journey lies ahead of me. The review is simply a reflection of this journey in hopes of making future journeys better.

Ironically, the job of the Greek chorus is, among others, “to show how an ideal audience might react to the drama” (August Wilhelm Schlegel). Now, not only am I part of this amazing production, but my job night after night as a member of the chorus is to sit and watch it- reacting as I feel motivated to, and thereby guiding the audience through the multiple reactions they themselves might be experiencing. All of this heightens the experience for both the audience and the actors.

As the ever excited about her latest project actor, I find myself constantly promoting the show to family, friends, and complete strangers on the street.
“How wonderful!” they all say, “I love A View from the Bridge. What role are you playing?”
I proudly beam and say, “Chorus.”
Dead silence follows.
“Did you make it into a musical?”
“No, it’s the original text.”
“Um, Laura? There’s no chorus in A View from the Bridge.”
“There is now!!”

In his research, our Director Adam Adolfo came across interviews and essays by Arthur Miller about how A View from the Bridge was his attempt at a modern Greek tragedy. Adam took it one step forward by adding the traditional Greek chorus. Not just a traditional Greek chorus, but a purposefully multi-racial chorus centered on a Dominican family.

This is only the tip of the iceberg- Adam is adding layers upon layers to this production, all of which we as actors are discovering were within this text all along.

As the Irish chorus girl, I might stand out a little in a play about Dominican immigrants. However, my cast mates made me an honorary north side Latina, and Adam makes sure that I’m in the head of my character- a recent 20-something Irish immigrant new to life in Red Hook so that I can give the Irish viewpoint and reactions to the story.

As actors, we often sit around talking about things we observe during rehearsals, new revelations that are fueling a brief moment in the play. Perhaps over a pint of Ben and Jerry’s Clusterfluff ice cream, the different racial, ethnic, and cultural viewpoints are all openly and honestly discussed. It’s enlightening to me, both as an actor and as a member of this diverse society. This may not be 1957 Red Hook, but, relatively, few things are different.

In the end, our audience- regardless of color- will have a wide variety of reactions to this story. Some will love Eddie, others will hate him, and others will simply mourn for him. There is a character for everyone to identify with, and their personal attachments will shape their ultimate judgment of both these characters and this production.

So, come see Artes de la Rosa’s A View from the Bridge. It is our modern Greek tragedy. Or justice. Or absurdism. It depends on what your view is.