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. More…
In the aftermath of WWII, the Keller family struggles to stay intact and to fight for their future when a long-hidden secret threatens to emerge—forcing them to reckon with greed, denial, repentance, and post-war disenchantment across generations.
"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." Full Review
"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." Full Review
"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." Full Review
"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." Full Review
"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." Full Review
"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." Full Review
“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.” Full Review
"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.” Full Review
“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." Full Review
“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.” Full Review
"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." Full Review
"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." Full Review
"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.” Full Review
"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.'" Full Review
"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." Full Review
"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." Full Review
"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." Full Review
"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." Full Review
"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." Full Review
"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." Full Review
"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." Full Review
"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." Full Review
"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.'" Full Review
“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.” Full Review
"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." Full Review
See it if You like classic absorbing drama with great performances by Benning, Letz, er al. A must see! A true American classic
Don't see it if I can’t honestly think of any reason why anyone with an appreciable if great theatre should not see this
See it if A great production of a classic play. Benning and Letts are perfectly cast and directed. The play is as timely today as in 1974. Don't miss
Don't see it if you are looking for a light comedy.
See it if If you enjoy watching great acting, you should see this play. If you like Arthur Miller's writing, this is one of his best.
Don't see it if If you aren't a fan of Arthur Miller, dated plays, or straight plays without a lot of action, you will definitely not like this show.
See it if you are an Arthur Miller fan and are in the mood for an issues play that is surprisingly resonant in this day and age.
Don't see it if you cannot countenance Miller's less than rosy representation of the seamier side of capitalism. (Boeing 737 MAX8 anyone?)
See it if No reason not to see this wonderful play. Any seat in the house is a great view. Feel all the feelings. Flew by so fast. Left me wantin more
Don't see it if If you must have music and dancing to be entertained. Great story. Great play.
See it if you want serious drama and a plot with a twist in an American classic play with the brilliant Annette Bening
Don't see it if you want to be amused and not challenged.
See it if you want to experience tremendous acting and a plot that will keep you at the edge of your seat.
Don't see it if dysfunctional families and family squabbles are not to your liking.
See it if Annette Bening, Tracy Letts, Benjamin Walker - 3 wonderful intense performances. Arthur Miller at his best.
Don't see it if If you like dazzle dazzle shows with lots of moving pieces this might be be for you.
See it if you want to see an American Classic performed in breathtaking fashion by a wonderful cast. Brilliant theatre!!!!!
Don't see it if you dislike intense dramas about family, responsibility and consequences. If you want fluffy musicals, this is not for you.
See it if you like family dramas. This production is brilliantly acted, directed, and has an incredible set. Tracy Letts and Annette Bening are superb
Don't see it if you do not like sad shows. This play does not have a happy ending.
See it if You appreciate classic Arthur Miller and want to be transported into the lives of a play's characters . The three stars were superb.
Don't see it if You think classic Miller is dated and prefer lighter fare.
See it if you want to see Arthur Miller's masterpiece brilliantly performed by a stellar cast.
Don't see it if you prefer a more lighthearted play - this is drama at it's best.
See it if you want to prove that the NYT review was hopelessly pedantic and soulless in contrast to this utterly affecting production.
Don't see it if you give up after expositions and are unwilling to wait for the final 2 1/2 acts you may never forget.
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