Running since February 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.
The Broadway production of The Price closed May 14, 2017. For current Broadway show listings and tickets, please click here.
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
Bolstered by a first-rate cast, director Kinney's carefully considered production shapes all sides of the arguments into compelling drama. DeVito blows an invigorating gust of playful comedy. However, in the fractious second act, Miller's play shows its dramaturgical weaknesses, becoming circuitous and repetitive. Still, the strong cast ensures that the drama remains riveting...a very solid, sensitively directed production of a flawed but rewarding play.
New York Daily News
A production that can't mask the play's weaknesses but compensates a bit with some strong acting...Kinney guides an atmospheric, period-rich production. Acting is uneven. Ruffalo gives a lived-in, believable performance. Hecht is persuasive...but Shalhoub's mannered performance jars and gums up the works. DeVito emerges as the show's MVP...[he] makes an irresistible meal out of his part.
New York Magazine
[A] gripping if slightly muddy revival... it becomes difficult to keep track of the box score of grievance. Kinney's production slightly compounds the problem by leaving too much of the argumentation unshaped; the actors, too, though already powerful and moving, sometimes look as if they need more time to figure out where they are. DeVito, as the clown cleaning up after the elephants and their memories, walks off with the show.
The Roundabout Theatre has put together a splendid cast for director Kinney's straightforward and loving revival of Miller's drama. It feels almost novel to have a lesser-known Miller work presented with down-the-middle sensibilities and expert care. Miller, whose parents lost everything in the crash, knew these lives' sore spots. And this production knows how to make them still hurt.
It's not quite Arthur Miller's best, but "The Price" is still a compelling drama. And in this revival it's blessed with a dream cast. The production is not entirely successful. It feels under-rehearsed and over-acted in spots, and structurally, the play is rather lopsided. Act One has the humor; Act Two is deadly serious. "The Price," even with its flaws, is well worth a visit.
Time Out New York
The play touches on some of the same concerns as Miller's more famous works, but in one long scene on a single set, performed by just four actors. Such economy requires a level of focus that [this] production only sometimes delivers. Ruffalo and Hecht do creditable work, but Shalhoub falters. The play winds up in the pocket of DeVito...the revival's energy flags without him. Only when he's onstage does "The Price" seem right.
Kinney directs a superlative cast who make this revival a treasured experience. Ruffalo [wears] his character's hypersensitive feelings pinned to his skin. Hecht [gives] another supremely relatable performance. DeVito holds the audience in the palm of his hand. Shalhoub is a wonderfully subtle actor. Under Kinney's measured direction, the recriminations really heat up in the galvanic second act.