The Phnom Penh Players are returning to the stage this December with an innovative take on Arthur Miller's A View from the Bridge. This marks their first major dramatic production since the Covid-19 pandemic, drawing timely parallels with Miller's post-war narrative.
A fresh interpretation of the play promises to challenge audiences with its contemporary themes and bold casting choices, while honouring Miller's exploration of immigrant life in 1950s New York.
Set in the Italian-American community of Brooklyn, the play follows longshoreman Eddie Carbone, whose life with his wife Beatrice and her niece Catherine is upended by the arrival of two immigrant cousins from Italy, Marco and Rodolpho.
As both lawyer and first-generation American, narrator Alfieri serves as a symbolic bridge between the new and old world, guiding the audience through complex themes of justice, morality and the immigrant experience. Through his observations on the tensions between personal longings and social norms, Alfieri helps viewers navigate through these timeless human struggles.
“Since my, I suspect intentionally joyless, study of Arthur Miller's A View from the Bridge, I've been captivated by its characters,” director Alex Rose tells The Post. “Each one rich, with raw humanity and offering a voyeuristically fascinating portrayal of immigrant life.”
The production's rich visual and auditory elements enhance Miller's narrative through detailed set designs by Elizabeth Sharma-Shimek and Guadalupe Rodriguez and sound by Chas Hamilton, bringing the world of 1950s Brooklyn to life.
Post-pandemic revival
“It's our first proper play since Covid,” says Rose. “There was Alice in Wonderland last year, but it was more of a children's production. This is a return of the Players to their dramatic roots of producing larger-scale shows.”
The production represents an exciting evolution in Phnom Penh's English-language theatre scene, bringing together established Players with emerging talent from the Lo-Key Theatre group, founded by Rob Appleby, himself a Players member.
“It's been brilliant,” Rose notes. “There are a couple of the cast and crew that are old school Players and they've been in a number of productions over quite a few years. But a large number of the cast are completely new to the Players.”
“Because of the work that's been done with Lo-Key, a lot of new talent has emerged... I've directed a number of their shorter plays, which then built up towards A View from the Bridge,” he says.
Rose's journey with Miller's play began in the British education system, where what could have been a clinical academic exercise instead sparked a lasting creative fascination.
“As part of the British schooling system, you are generally forced to study a number of Shakespearean and modern plays, and there's this very dry approach to these characters. I've always been a very imaginative person, so even though I was studying them in this strict and rigid way, I was so taken by the virility, the beauty and the darkness of all of them, they've always kind of stuck with me.”
This production marks Rose's evolution from actor to director.
“Doing the Lo-Key productions really scaffolded my confidence in terms of being a director... I was like, 'You know what? I'd really like to see a very engaging version of something that I was forced to study as a student’,” he says, smiling.
Gender-blind casting
One of the production's most striking choices is the casting of a female actor in the role of Eddie Carbone, the play's tragic protagonist.
Monja McKay, who plays Carbone, describes the role as the greatest challenge of her acting career, and notes that her preparation has been intensive.
“I was worried about playing a stereotype. When we decided to go with Eddie as originally written, I contacted my professor from my acting MFA programme and asked for his advice. He urged me to immediately find Eddie's physicality,” she tells The Post.
“I went out and bought men's clothing. I am actually very feminine in real life. I don't even own pants and I wear dresses every day, but I make sure to take off all my makeup and jewelry before coming to any rehearsal,” she adds.
McKay sees universal themes in Eddie's character that transcend gender.
“All of us experience Eddie's struggles. It isn't masculine or feminine to love your family and want the best for them. Both men and women can become toxic or abusive if they feel they have been wronged. I have tried to tap into truths that capture Eddie's humanity as much as possible. He is an amazing role because he is simultaneously both the villain and the hero of the piece,” she says.
This perspective aligns closely with Rose's vision for the production's gender-blind casting.
“A lot of the play’s issues are often attributed to the male ego and psyche,” Rose explains. “But they're not just male issues, they're issues of humanity. I think by having a female actor portray Eddie, we’re offering a fresh perspective and creating a wider emotional range for the audience to engage with.”
Jen Yee Toh, who plays Alfieri, also a traditionally male character, discusses her role as narrator.
"Alfieri is the voice of reason. He acts as a bridge between the rigidity of the law and the passion of justice, and the story is told from this viewpoint. Thus the name A View from the Bridge,” she tells The Post.
"This has been an interesting role for me," she adds. "I usually play characters who are passionate or expressive, but Alfieri is not a very emotive man. I had to find ways to convey his intent in an engaging manner while staying true to the character."
The production delves deep into themes that Rose sees as particularly relevant to contemporary society, especially regarding identity.
“It's a serious play that grapples with lots of themes that I find really important but are also quite pertinent to modern-day society,” Rose says. “It's got quite a strong emphasis on queer culture and how the repression of part of one's personality can lead to a breakdown in communication and connection in all relationships within their life.”
He is particularly drawn to the complexity of Eddie's character arc.
“Eddie is a really tragic character... He feels that he has to hold back so much, and he sees somebody else, Rodolpho, not holding back as much. There's a jealousy that grows from that. So there's an interplay of jealousy and control and passion and desire that runs throughout the production,” he explains.
While maintaining the serious core of Miller's work, this adaptation promises to be more concise than the original while finding moments of levity.
“Even though it's deep, it’s also comedic and fun. I think one of the biggest differences is that it's a lot shorter than the original play, a lot more digestible!” he adds, laughing.
Three decades of theatre, charity
Founded in 1992 by Vicky Rogers, the Phnom Penh Players have maintained their dual mission of entertaining audiences while supporting local causes for over three decades. Continuing this tradition, proceeds from the play will benefit Men's Health Cambodia, an NGO providing free HIV testing and health services in the city.
Since their inception, the Players have been a cornerstone of Phnom Penh's cultural scene, staging numerous productions from Chekhov to Coward, while maintaining an open-door policy for new talent. Their commitment to community theatre remains strong, with ongoing welcomes to those interested in acting, set design, music or behind-the-scenes work.
“These characters reflect us – our dreams, fears, passions and flaws,” Rose reflects. “Their stories remind us of what it means to live, love and strive when the world feels unyielding... We invite you to step into their world and see within yourself the gift of heartache and resilience that connects us all.”
The show will run for three nights from December 5-7 at Blue Chilli Bar, No. 126 Street 130. Tickets are $12.50 and can be purchased through the Phnom Penh Players’ Facebook Messenger. Those interested in joining the Players can contact [email protected].