Closed 2h 15m
All My Sons
Midtown W
85

All My Sons NYC Reviews and Tickets

85%
(398 Reviews)
Positive
94%
Mixed
5%
Negative
1%
Members say
Great acting, Absorbing, Great writing, Intense, Thought-provoking

About the Show

Award-winning actors Annette Bening and Tracy Letts return to Broadway in the play that launched Arthur Miller as the moral voice of the American Theater.

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Member Reviews (398)

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80
Solid script, Strong acting, Polished production, Period piece, Absorbing

See it if you like Miller plays. AMS has flaws (depiction of women!) but many strengths. Plot unfolds w growing stakes (awk plot device at end).

Don't see it if tradl theater bores you. Realistic prodn. GREAT set. Didn't love Bening's flat-toned perf; Walker was stand-out. Pace is slow, but picks up.

92
Masterful, Riveting, Great writing, Great acting, Absorbing

See it if Intense family drama w/ Incredible performances & superb writing. Arthur Miller really is in a league of his own.

Don't see it if If you appreciate plays there is no reason not to see this. My favorite revival of this season.

Critic Reviews (43)

April 22nd, 2019

"O’Brien’s literal-minded production does not make a resonant case for the drama today...Ms. Bening goes deepest of the four leads in exploring the muck at the bottom of her character’s personality. She also has terrific technique...But the opacity of the production overall means we still can’t read her with any clarity, and the play acquires a weird wobble at its core...The production is almost never moving, except when Ann’s brother, George, shows up intending to expose everyone’s lies."
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April 22nd, 2019

"There is a real and precious thing at the center of 'All My Sons.' It is the trio of Tracy Letts, Annette Bening and Benjamin Walker...All three are believable in every detail—blockbuster actors dedicated to small, unshowy connections to one another. In scene after scene, they do wonders. Around them, though, is a flatter and falser world...What does work after all the decades is Miller’s stunning climax, a series of emotional explosions."
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April 22nd, 2019

"The play’s glaring issues go unexamined...Miller’s not a wit, nor is he particularly agile with seeming small talk or elegant exposition...What does stick out—over and over again—as the play ploddingly establishes its circumstances, is its blithe sexism...While Letts and Walker eventually get to tear down the roof—and it is exciting to watch them do it—it’s a little heartbreaking to witness what the brilliant, incisive Bening is given to work with by comparison."
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April 22nd, 2019

"One of the dramatic highlights of the Broadway season, the production features outstanding performances from a stellar cast headed by Annette Benning, Tracy Letts and Benjamin Walker, with impeccable direction by Jack O'Brien...He delivers a mesmerizing, no-frills production whose slowly ratcheting tension never abates...As usual for Roundabout, the production values are excellent in every respect."
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April 22nd, 2019

"Bening is excellent as Kate, who holds so ferociously to the belief her son can’t be dead because of what else she’ll have to accept if he is, while actor-playwright Letts holds court as the seemingly genial patriarch with tension simmering beneath that calm exterior. And Walker’s Chris is tragic in a very different way...It all comes together in a stellar, harrowing production that reinforces why Miller’s works still endure so many decades later."
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April 22nd, 2019

"It still packs a wallop all its own, especially in this wonderfully cast, honestly staged and beautifully presented production...The whole cast makes their characters as well as the play’s melodramatic turns not only credible, but enthralling...Walker brings a genuineness to this sometimes too-good-to-be-true character, making Chris’ private revelations, as someone who has hidden scars of his own, all the more affecting."
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April 25th, 2019

"It’s one of the best Miller revivals I’ve ever seen, a staging so magnetic that it overwhelmed my lingering doubts about a play that can feel preachy when it isn’t done as well as this...The supporting cast is uniformly strong, with next-best-in-show honors going to Benjamin Walker and Hampton Fluker, both of whom are more than up to the task of sharing a stage with Mr. Letts and Ms. Bening without getting washed into the valley."
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April 23rd, 2019

“Best Show of the Broadway Season...A polished, moving and beautifully mounted revival...Told in restrained but intensely emotional terms...the play still delivers a gut punch...So many things to applaud in the heart-stopping dramatic impact of this exemplary production...You can start with the most fabulous set...You can applaud O’Brien’s fluid direction...And finally, there’s the cast...’All My Sons' soars again, with its original values intact, stronger and tougher than ever.”
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April 22nd, 2019

"Jack O’Brien’s knock-you-from-behind staging is as powerful and sturdy as Miller’s post-war classic itself. And in a shattering performance that adds yet another layer to her quietly remarkable career, Annette Bening finds grace notes in the role of the grieving Gold Star mother that brings the character to vivid, brutalized life...Miller’s genius was in using the old formulas to capture a very unbrave new world."
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April 22nd, 2019

"The production seems caught between a solid midcentury Broadway realism and a more theatrically fluid 21st century approach. But the core of the play, the situation of a disillusioned son’s inevitable confrontation with his hypocritical father that Miller would potently redeploy in 'Death of a Salesman,' is explosively renewed...O’Brien’s ensemble mixes realism with contemporary classicism in a catch-as-catch-can way. It’s the acting equivalent of a mixed salad."
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April 22nd, 2019

"With Letts smoldering away, the whole decency thing is a sham — an affectation, a role Joe has learned how to play. And Annette Bening is not far behind: She elicits relatively little sympathy as Kate...Letts’ performance likely will strike some as odd or disconnected — I find it perfectly in tune with the moment, and there is much to like about Bening’s work, too...Had Letts been given some raging players to match his own buried ferocity, we'd likely have seen even more of his teeth."
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April 22nd, 2019

"In the current highly charged news cycle, with constant accusations of corporate and governmental misdeeds and inhumanity, 'All My Sons' feels especially timely...This revival gets to the heart of Miller’s writing and brings out increasingly intense and layered performances, making for highly compelling and confrontational theater."
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April 23rd, 2019

“Though locked in a specific time and place, the play's themes are as relevant and haunting today...A shattering production...As written, directed and performed, it's as devastating a scene as you're ever likely to see on a Broadway stage. What could so easily turn melodramatic is directed by O'Brien to maximum dramatic effect without sacrificing emotional honesty...The three principals, acting their hearts out, seem right at home.”
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April 22nd, 2019

"If one is willing to overlook the incongruity of making George black but keeping Ann white, there's something empowering in Ogbuagu and Fluker playing the grim truth tellers amid a sea of white characters who are all suffering from varying degrees of self-delusion...However, this production is a straightforward presentation...Still, if seeing a powerful drama staged and performed well is enough of a reward, then this new production mostly satisfies."
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May 2nd, 2019

"An immaculate revival...The wonder of Jack O'Brien's production is how it embraces the creaks in Miller's dramaturgy, making them seem irrelevant to the real business at hand...O'Brien orchestrates the rising tensions among the Kellers with the skill of a master conductor...O'Brien has cast the production with care, finding actors who can transform Miller's sometimes-wooden dialogue into the cadence of natural speech, also skirting any hint of melodrama."
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April 22nd, 2019

"Feels almost as fresh and disturbing as when it first saw the light of day in 1947...The three leads have all created beautifully rich performances, both as individuals and in their interactions with one another...All told, this fine production demonstrates with great clarity that 'All My Sons' holds up to this day, a remarkable work that was Arthur Miller's first breakthrough success two years ahead of 'Death of a Salesman.'"
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April 22nd, 2019

"The Sonny Liston-sized wallop happened again when Tracy Letts, playing Joe in the current revival, uttered his 'all my sons.' He is saying the killer phrase in a Jack O’Brien-directed production that’s as close to perfect as it can be for any lover of Miller—and for any believer in the potential of theater to get to you where you live...In director O’Brien’s cast, they’re all flawless—the lead actors worthy of praise that could go on for many column inches."
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April 22nd, 2019

"Arthur Miller’s surprisingly vital 72-year-old drama 'All My Sons,' now in a stirring Jack O’Brien–directed Roundabout Theatre revival...It seems selfish to want to see Letts do more and more stage roles when he could be writing more plays. But he’s so spectacular in 'All My Sons'—even in the simple, speechless act of reading a letter—that you can’t help but imagine him (and Bening) in, oh, say…'Death of a Salesman.'"
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April 22nd, 2019

"Here, the parts fit together smoothly for maximum effect...'All My Sons' is a slow burn that devastates you by the end...Letts knows how to vary a light, comical mode with eruptions of rage and defiance, and his canny, muscular, ultimately terrifying performance is a master class in the banality of evil...I recommend this keen, satisfying revival, especially if you’ve never seen the piece before."
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April 22nd, 2019

"Simultaneously a valentine to the kind of naturalism that the American theater does best, and a reminder that the virtues of the proverbial 'well-made play' when impeccably realized are never passé, this is a deeply moving and finely wrought production. Apart from the kudos owed to O’Brien, the other factor that sets this iteration apart is the utterly transcendent performance by Bening."
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April 29th, 2019

"It is as though the director does not trust the audience and feels that everything has to be underscored to help us understand the plot. This only diminishes the play's effectiveness as a both a tragedy and a cautionary tale. While Arthur Miller's 'All My Sons' still works as a very powerful indictment of capitalism in America, the Roundabout Theatre Company production makes it look much older than it actually is with all the emoting that goes on in the course of the evening."
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April 30th, 2019

"More powerful and relevant than ever...’All My Sons’ is indeed a melodrama mounted on a soapbox. But the eloquence with which its characters put forth the themes propelling all of Miller's plays retain their power and relevance, especially when stirring solidly staged and superbly acted as the Roundabout's current revival is.”
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April 29th, 2019

"Unfortunately, Roundabout’s newest revival isn’t able to carry the full weight of one of Miller’s more popular plays...Neither of these performances were helped by O’Brien’s blocking...One standout of the piece that deserves praise is the performance of Hampton Fluker as George...O’Brien’s 'All My Sons' doesn’t add new insight to the classic. Though still incredibly relevant to today’s audiences, the piece feels aged and dated in this production and doesn’t find a full life."
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May 1st, 2019

"This production stays painting itself on the surface like bug repellent. Their 'All My Sons' is trying to see it all as humanly as possible, but slips on the wet grass, out from under its own steady feet...The production stumbles, failing to live up to the tragedy that swirls around the home, leaving familial destruction that has little impact on those baring witness to the events. I was as unflinching as Kate, when I wanted to be as devastated as Chris."
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May 29th, 2019

“While Jack O’Brien’s production of 'All My Sons' is too literal, there is something to the double-edged performances, particularly from Benjamin Walker, that still make this Arthur Miller play rattle...Walker threads this all finely and his collapse at the end of the play makes you believe Chris may never find his footing again. It’s the performance that makes this production worth seeing. The rest of the production is frustratingly pedestrian."
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C
April 22nd, 2019

"For much of the play, Bening's Kate displays a much harder edge than usual, not only letting her barely-contained anger and grief come to the surface time and again, but also signaling that she has lost the strength to keep acting the parts she's been assigned: the mourning mother and the supposedly-innocent wife. It's a truly triumphant performance that makes us sad for all we haven't been able to witness during her prolonged absence."
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April 25th, 2019

"'All My Sons' is moderately effective, with strong histrionics from its three leads, but never fully rises to the occasion. Miller's play resonates with contemporary relevance (think capitalistic excess, faulty airplane issues, and 'exoneration') but, at least in this version, seems more dated, wordy, and melodramatically contrived than ever…The emotional storm and stress reaches hurricane levels but, because the situations seem so carefully manufactured…it fails to truly break your heart."
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April 29th, 2019

"Those climactic performances by Bening, Letts and Walker will be enough for many audience members. For theatergoers who might join in the criticism that the script is dated or implausible or otherwise flawed, it’s useful to consider this production through three lenses. The first is the time in which it was written and in which it is set...Here is where the second lens comes in handy – seeing the play as Miller intended it to be, as a Greek tragedy involving everyday Americans."
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April 22nd, 2019

"Thrillingly acted – with performances that threaten, tantalizingly, to go over the top, but stop just short – Jack O’Brien’s production for the Roundabout is a vigorous anatomy lesson, a show about how guilt and transgression can rot a family from the inside, spoiling everything they touch...Letts is giving a master class in an inner, cringing weakness camouflaged by shows of strength. His performance is big, brash even, but never without nuance."
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April 22nd, 2019

"As fine a production of a Miller play as I ever hope to see...Director Jack O’Brien uncovers a depth and breadth in the play that I had not found in previous productions. He also knits the various subplots together with uncommon skill...Miller’s depiction of the dark side of the American Dream sadly remains as relevant now as it was in 1947."
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April 22nd, 2019

"Bening makes us feel the weight of her burden...She doesn’t quite match her gifted co-star’s ease of performance on stage...Jack O’Brien’s production means to give us a very naturalistic 'All My Sons.'...Which is another problem. The grass is a little too green, the wisteria too lavender...Chris and Ann don’t make a good couple, at least as awkwardly performed by Walker and Carpanini. The two actors don’t even physically look right together."
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May 11th, 2019

"A searing meditation on war, morality, capitalism, and the clash of generations...Under the brilliant hand of director Jack O’Brien, the gripping and pitch-perfect production...is a highlight of the spring season...While the assembled ensemble is excellent all-around, the trio of Ms. Bening, Mr. Letts, and Mr. Walker combine to give the superior level of performance...Emerging from the theatre, shook by the mastery at hand, it is hard to imagine a better production of a better play."
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April 22nd, 2019

"There is the pleasure, for the first half anyway, of Miller’s 'All My Sons' of well-executed theatrical convention; the reassurance of a revival done traditionally and done right...There is nothing off-the-wall, no pushing of envelopes, or headline-making outrages. Directed by O’Brien, this is a steady ship, entirely respectful of its source...In this second half that the play starts to creak, and all that seemed grand and luxuriant in the first part begins to feel heavy-handed and rushed."
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April 22nd, 2019

"The most pulse-pounding moment in this surface-skimming production is the thunderstorm projected in black and white over the pre-show drop, as if transporting us from Kansas to Oz...The performances likewise feel wrapped for individual consumption, rarely cohering or combusting, even as the family’s secrets come tumbling out...O’Brien makes little case for the play’s urgency, though its interrogation of capitalist deceit in the name of legacy certainly hold up."
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May 13th, 2019

"Skillfully revisited...O'Brien steers a sterling cast through the veneer of post-war complacency and delves into secrets and acrimony to unravel a shattering inevitability...Miller's language, always straightforward with an edge of poeticism and O'Brien's deft handling, heightens the dramatic fall-out with emotion and truth...Relevancy is clear here in Miller's second play...still delivered with smashing conviction over 70 years after he wrote it.”
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May 7th, 2019

"Jack O'Brien's production is somewhat safe and predictable: it feels very much like reading rather than seeing the play, and there is no indication that this 'All My Sons' is all that different from one that could have been staged ten or twenty or even thirty years ago. At a time when questions of economic and criminal justice are fertile ground for theatrical exploration, O'Brien's take is just a tad complacent."
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April 26th, 2019

"The writing is so naturalistic and crisp that the plotting actually keeps you riveted. The new Broadway revival, directed by Jack O’Brien, does powerful things with the material, starting with Santo Loquasto’s realistic backyard set and continuing into the acting by a tight ensemble...If you think the Mueller Report exonerates Trump, you’ll believe Joe Keller is innocent, too—and in that case, this revival isn’t for you. Everyone else, dig in."
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April 22nd, 2019

"The gripping revival solidifies its relevance more than 70 years later...This cast breathes so much life into Miller’s characters it feels like you’re watching for the first time. Tracy Letts is compelling as Joe. As Kate, Annette Bening is a poignant mix of strength and despair, fighting off a grief she refuses to acknowledge. But it’s Benjamin Walker as the tortured son Chris who most commands attention whenever he’s on stage, so apparent is the fury he's brewing."
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T
May 14th, 2019

“O’Brien has staged a truly impressive revival of this play. The play is wildly melodramatic which could make this seem preachy and perhaps even naively nostalgic. Not here. The actors are all excellent. Their relationships are effortlessly believable. The tension builds and builds and builds, slowly and continually. I did not see a moment that was not perfectly rendered. 'All My Sons' is a time capsule of yesterday and also a hazy reflection into a mirror of our society today."
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April 23rd, 2019

“This shattering play about the guilt of seeking to avoid moral responsibility is forever timely...O'Brien expertly modulates the growing tensions of a plot that unfolds with the inevitability of a Greek tragedy...A thrilling cast rise to the challenge of making this entirely believable, fraught and eventually scorching. As matriarch Kate, Bening is devastating as well as devastated...Letts is equally superb...Even knowing the outcome, it's a play that rivets, challenges and disturbs.”
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April 25th, 2019

"Letts and Walker have superb onstage chemistry as father and son. One of their last scenes is especially effective and riveting...O’Brien keeps things straightforward here, with a simple black and white video projection of war planes preceding the first act. O’Brien keeps the focus on the story. Although not all cast members are up to the par of the task at hand, O’Brien gets superlative performances from the actors playing the lead roles."
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I
April 27th, 2019

"The current cast is enticing and successful. Together with veteran stage director Jack O’Brien, they’ve produced one of the very best revivals of the season...Miller has crafted a drama that masterfully builds with increasing moral fervency to a shattering climax...The stunning cast is on the same page, their performances at once expanding and focusing as the play unfolds. All in all, I would encourage you not to miss this altogether searing revival."
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April 25th, 2019

"CK: We share general feelings on the play itself—chiefly, that it’s over-obvious and sanctimonious. I certainly felt the overly straightforward nature of this production did the play no favors. More than ever, it seemed like a parable that’s been plotted within an inch of its life...DF: Bening’s clearly a fine stage actor, but here she seems so deliberately drabbed down that it’s almost showy. Neither she nor Tracy Letts—also a terrific actor—ever convinced me they were a married couple."
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