New in 2017 Roundabout Theatre presents a revival of Arthur Miller’s drama that follows the reunion of two estranged brothers who are brought together by their father’s death and the settling of his affairs.
From the producers: When the Great Depression cost his family their fortune, Victor Franz gave up his dream of an education to support his father. Three decades later, Victor has returned to his childhood home to sell the remainder of his parents’ estate. His wife, his estranged brother, and the wily furniture dealer hired to appraise their possessions all arrive with their own agendas, forcing Victor to confront a question, long-stifled, about the value of his sacrifice.
"The Price" originally opened on Broadway at the Morosco Theatre in February 1968 where it played until the production moved to the 46th Street Theatre in November 1968, ultimately running for 429 performances. The production was nominated for two Tony Awards, for Best Play and Best Scenic Design.
The all-star cast includes Tony, Emmy and Oscar nominee Mark Ruffalo ("The Avengers,","The Normal Heart"), Emmy and Golden Globe winner Tony Shalhoub ("Act One," "Golden Boy," TV's "Monk"), Tony nominee Jessica Hecht ("The Assembled Parties," "Fiddler on the Roof") and Oscar and Emmy nominee Danny DeVito ("One Flew Over the Cuckoo's Nest," "The Sunshine Boys," TV's "Taxi"). Steppenwolf co-founder Terry Kinney directs.
What's the Roundabout? One of the great nonprofit dreadnoughts of the New York theater scene, the Roundabout has three Broadway venues and an Off-Broadway stage in midtown. Prominent artists are usually engaged, significant work is usually done, and even at the smallest of the theaters, the work has the uniform quality that one would expect from such a large and prominent shop. More here.
Sympathetically directed and ardently acted, there's much to enjoy in this revival. Yet it shows "The Price" as a smaller, more stolid work than it wants to be. Kinney's quieter, more faithful style emphasizes the fine roles for actors but doesn't make a strong case for the play itself. Miller keeps the argument more or less evenhanded...yet if the debate is involving, it's not especially consequential.
This wobbly revival...Shalhoub succeeds most at suggesting a real life behind Miller's verbal firecrackers. Ruffalo [is] flat and terribly miscast. The playwright's big mistake was in focusing the material on three other dullard characters when Solomon is obviously such an original creation. DeVito remedies this somewhat with his rich, histrionic, ultimately very touching performance