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Mickey Jo
My prevailing thought as I was departing the theater, in fact during the play, was that I'm not sure I ever need to go and see All My Sons done ever again. Not because I don't enjoy the play, which I do, but because this was so fantastic, so, so extraordinary. I'm not sure it can ever realistically be outdone. I left the Wyndham's Theatre that afternoon with the clearest and most acute sense that this was easily the best thing I'd seen all year. Oh my God. Hey. Welcome back to my theatre themed YouTube channel. Or hello to those of you listening to this review on podcast platforms. My name is Mickey Jo and I'm obsessed with all things theatre as a theatre critic and content creator here on social media. Earlier this month I got to go and see All My Sons at the Wyndham's Theatre, the new Eva Van Hove directed production of of the Arthur Miller play, the first major West End production from the acclaimed theatrical director since the musical Opening Night, which I famously did not enjoy. And you can find my one star review of that production wherever it is that you are seeing my face or hearing my voice. How surprising then that the same theatre maker who delivered one of my least favourite productions of last year should deliver perhaps this year's strongest. And I was already of the opinion that it was a great play and that it had been cast impeccably. All of which very much helps. But we're going to spend a lot of time today talking about the brilliant creative work that Ivo has done with this production. It's an astonishing theatrical feat, one which miraculously brings the nearly 80 year old play into blistering contemporary context. This production manages to make All My Sons feel as though it was written yesterday, and I cannot wait to tell you more about how. In the meantime, I would love to hear the thoughts of anyone else who has seen this production or would like to comment down below if you've seen this or another production of All My Sons, and stay tuned to hear what I thought. If you enjoy listening to my review, make sure to subscribe here on YouTube or follow me on podcast platforms. And stay tuned for more Reviews coming in 2026, as well as my imminent roundups of best and worst shows that I've seen in 2025. For now though, what was so extraordinary about All My Sons? So a little context about the play itself, which is quite frequently revived. I first discovered it through a recording of a production from, I want to say, around 2010 in the West End, starring David Suchet and Zoe Wanamaker, directed, I believe, by Howard Davies, and it's enjoyed major revival since on either side of the Atlantic. It's one of those great American plays which is staged fairly often, not unlike Death of a Salesman, and it's something of a scathing indictment of the American dream and a reminder of the importance of community. At least that's very much what's uplifted in this particular production, a post World War II Reflection written by Arthur Miller in 1947, Wasting no Time whatsoever, very much capturing the raw grief of a nation affected by loss, but one which we observe from the vantage point of a small suburban neighborhood, in fact entirely from one backyard, the backyard of the Kellers, Joe and Kate, who are very respected within their community, in spite of the fact that Joe was arrested during the war along with his business partner, allegedly for knowingly supplying deficient military equipment to the US military, which resulted in multiple deaths, this being not only a deeply serious criminal act, but also a particularly shameful one within that community, one whose sons, brothers and sweethearts were themselves away at war, as were the two sons of Joe and Kate Keller, Chris and his brother Larry. Now Chris returned from war, but did so an emotionally changed man after what he experienced there. And Larry sadly never did return, but also was never recovered and never officially declared dead, which leaves a certain amount of unfortunate space for his mother to hope that he somehow miraculously survived, spurred on in her determination by stories she reads in the newspaper about other young men arriving home amidst similar circumstances, having been missing for years. And what initially seems to us perhaps to be this delusional faith as a result of her unimaginable grief, is later substantiated as more of a willful manifestation, as other realities about things that took place during the years of the Second World War come to light. Brought to the forefront on this particular day, one which begins with a storm overnight that topples a tree planted in Larry's memory by a challenging situation. As Larry's as yet unmarried sweetheart, Annie, has returned home to the neighborhood where she once lived. She is proximal to every aspect of the Keller's story, not just because she was Larry's sweetheart, but also because she is one of two children of Joe's former business partner, who, though Joe was exonerated during the trial, has been incarcerated ever since. Annie does not begrudge Joe Keller the circumstances of her father's arrest, and it is seemingly a very pleasant reunion, though the question seemingly on everybody's lips is why exactly? It is that she has come, and it transpires that she has arrived on the invitation of their son Chris, who is hoping to ask for her hand in marriage, the two of them having been in contact over the last few months. Only he knows that this will be a difficult bridge to cross, not for himself and Annie, but for his mother, because the notion of him becoming engaged and marrying his brother's girl, Larry's girl, implies not only that everyone is similarly subscribing to the understanding that Larry is dead and is never to return. After all, she still has his clothes hanging, as they were in his childhood bedroom, waiting for him. Why wouldn't Annie? But also, as Kate tells us fairly early on, on her worst days, when her faith lapsing, she thinks of the fact that Annie remains unmarried, that she continues to wait, and that gives her hope. So the idea that Annie might give up waiting and marry her other son, no less, is a very challenging one for her to come to terms with. It is not, however, the most significant challenge that the family is going to have to navigate before the end of a very long day. And it does, in many ways, feel like a sort of a contemporary Greek tragedy. There is this fateful, dreadful, unimaginable revelation set to emerge, one which the audience is able to gather just a little bit earlier than ever, everybody on stage, and one which redefines the emotional meanings of all of the established relationships, this awful, dreadful truth with which everyone must come to terms and the reckoning that ensues. It is perhaps unsurprising, then, that this production reminded Me so much of a previous one at the same theater. One of the earliest shows I saw this year, which was Robert Ike's version of Oedipus, since transferred to Broadway, where it is currently playing at Studio 54. Something about the single act intensity and these dual powerhouse performances, but also so this extraordinary slow, painful walk up towards a fateful conclusion felt very similar to this production of All My Sons. But as much as I really adore that production of Oedipus, I think the comparative heft of this as well as the wider conversation, you know, Oedipus is talking brilliantly about its own circumstances and this particular dynamic and the relationships in this family. All My Sons is able to have that conversation and play it dedicatedly, but also simultaneously engage in a conversation about the entire nation, nay, the entire world. It was also familiar of another production of an Arthur Miller play directed by Ivo Van Hove, this time A View from the Bridge around a decade ago, a production which once again I saw on screen and very much regretted not having the chance to experience in person because of its immediacy and urgency. And the level of intensity that was established in that production, as well as this forensic examination of complex relationship dynamics under this patriarchal figure, is very reminiscent of what is being conjured on stage in All My Sons, only in that the initial setting was sort of comparably more bleak from the beginning, whereas this one sort of burns out steadily from a place of convivial neighbourly warmth to the ashes of hopelessness, loss and despair. Let me tell you a little more about how Eva Venhove has brought All My Sons to the stage. I used the word intensity, then, and it's very characteristic of the kind of work that Eva Van Hove and Robert Eick are putting together. It's also the context in which this particular production is established, as this entirely black curtain rises to reveal a fairly blank stage upon which a tree stands amidst a gathering storm, one which, in these wordless introductory moments, falls to the ground before the curtain is lowered once more. When it rises once more, it's a discernibly peaceful morning. Only the fallen tree in the midst of this bare set is impossible to ignore. And it's the conspicuous sort of elephant in the room for the remainder of the production as they stand over it and play scenes from either side of it. It is representative, of course, and obviously of Larry, for whom it was dedicated, forcing his mother, Kate, more so than anyone else, to reckon with the reality of his death as it lies there, toppled in front of her. And as if the Meaning wasn't apparent enough. Later in the play, Chris will go about trying to saw parts off of the tree in an attempt to begin moving it out of away and getting rid of it, as he continues to try and persuade his parents to agree to the marriage between him and his perhaps late brother's sweetheart, Annie. And there is another detail, too, a brilliant one, in the scenic design, which I only noticed a little later on when a shift in lighting allowed me to the scenic and lighting design of the entire production. By the way, the creation of Jan Versa Weld such a crucial creative component of this piece of theatre that they are actually credited distinctly alongside Arthur Miller and Evo Van Hove on the front of the program, which I think is just brilliant. But it's this floor and back wall set with a single circular cutout resembling initially the sun, but the color behind which changes to allow it to become certain things. We also discover that it's a window when Chris appears in it, looking down on the scene that is being played in the back garden. Though for the most part, when we see characters enshrined in this lit circle, they are not able to perceive what is happening in the playing space. But on this back wall with the cutout, there is a carving in the exact shape of the fallen tree, almost like a scar that has been left on the house, on the home, on this family. It's the unfading reminder of what it is that they lost and the context in which everything else that is going to happen in the play matters far more deeply and personally. This can never become a story simply about other people's children who went to war, because so did Larry. And the ingenious. The utterly extraordinary thing about this carving of the shape of the tree on wall is that in a certain lighting state, it aligns perfectly with the shadow of the tree when it is upright, which I only noticed towards the very end and was just such a staggering, brilliant choice. It's also, I assume, how they were able to carve it out in the first place by casting the shadow, I don't know, but really fantastic. I mentioned how that cutout seems to resemble the warm glow of the sun to begin with. As night falls, it better resembles a moon. But there's also a moment where the lighting shifts entirely and it turns greenish bl as Kate is reflecting on her belief that Larry is still alive and will one day be able to return to them. As we are guided through this fantasy in which she takes comfort, the relevance of the sun as a visual metaphor in this story is Made clear to us when Kate insists that Larry must be alive. Some things just have to be. He has to be alive. And it would be too impossible to imagine that he might not be. Some things simply have to be. The sun has to rise, and it's this reminder of constancy, I suppose, and the world continuing to turn. But also what we come to realize as the harsh and exposing light of day. Now, the costumes have been designed by Anne Doyes. And it's anachronistic, esque, sort of modern costuming, but not in a way that is distracting. At times it feels like certain elements of it could be period appropriate. But then there are other aspects which definitely aren't. I think, as with the aesthetic of the set design, we are just playing the story and portraying these characters in a way that a lot of contemporary directors like to. Without necessarily focusing on distracting visual elements. It's all about the tree and this circle. And they are characterized sufficiently in their costumes without necessarily being tethered to a specific time and place. And actually beyond, you know, the sensibilities of the era and the notion of a woman going unmarried. And also the business and finances and the way that things were done at the time. As well as certain specificities in the material about the war that has just happened. There's no reason this couldn't be empowered to feel like a story taking place after a subsequent war. Now, the sound design is by Tom Gibbons. And this is one of the other crucial creative aspects of the production. Because it's present pretty much throughout, the play is almost always accompanied by background music. What begins as this sort of ethereal drone inferring the notion that something is perhaps a little awry, later swells into romantic strings as the lighting becomes red. Amidst the courtship of Chris and Annie, with all of this baggage in between them, with this fallen tree dividing them on stage, playing what is, in spite of all of that, a deeply romantic scene. Very hard to find the romance of a play like All My Sons amidst these circumstances. But they really do. Later, when these characters find themselves in more overt confrontation with the arrival of Annie's brother George, who has, for the first time, been visiting with his father, who has shared certain details with him that have then driven him to the home of the Kellers to go and retrieve his sister, the lighting shifts in increments, punctuated by a metronome sound. His arrival into the play is extensively foreshadowed. He is announced by another character, a neighbour, who has gone to go and retrieve him from the station and warns Annie and Chris that they ought to simply send him away and not allow him to come into the house. What he has to share is so explosive, so volatile. And the staging of this moment is visceral as he appears in the auditorium alongside the audience and the house lights. Come up and stay up, up for a very long time. Of course, the dynamic changes, shifts completely with the arrival of Kate, who manages subtly to placate George and remind him of the joys of childhood. He reconnects unexpectedly with another woman still living in the neighborhood, with whom he clearly shared some sort of a young romantic connection in simpler, happier times. And the creative control of this scene continues as Kate sits him down on the floor like a child. He removes his father's hat that he's wearing, a demonstration of. Of this shift of allegiance and priority. And we hear in the ever present music, a sort of a children's music box kind of a sound. Ultimately, he agrees to stay for dinner. The lighting reverts to what it was. He smiles and is transformed. It doesn't, however, prevent us from arriving at the moment of realization that we ultimately reach. At which point a dreadful reckoning between father and son is underscored with these choral funereal chants. One of the most eye catching aspects of this production is the running time. Upwards of two hours without an interval, the whole thing plays uninterrupted, which is admittedly a marathon to endure for a live audience. But if you are able to, and I know that it is to a certain extent inaccessible, I do think that it's worth it. There is reward in this unceasing intensity. And I felt my pulse quicken cumulatively as we were going through each moment of it. I must have breathed, I must have blinked at some point during those two hours. But I couldn't tell you whether or not I did. I was so transfixed by this utterly extraordinary theater, by every single pulse raising second. And I think it would have been enough, I'd have been satisfied enough if this had simply been a great, brilliantly acted production of All My Sons. With these relationships, like I said, examined in this excruciating forensic detail, ascending to a boiling point point of operatic dramatic proportions. Only Ivo's production of this classic play transcends the specificity of its original context and reaches levels of meaning and relevance in ways that I hadn't conceived of. I was shocked that this could be so profoundly brought into conversation with where we are right now. The speech that Jo has to Annie about forgiving her father felt completely pursuant to conversations around cancel culture and individuals from that gender generation advocating for each other and like figures in entertainment, advocating on behalf of their disgraced peers. Early in the play, when Chris and Annie are speaking alone, he tells her about this newfound sense of responsibility that men have to each other after everything that he witnessed during the war. And it's that notion of responsibility and empathy in the largest sense, and truly what we owe to each other, what individuals owe to each other, within a family, within a neighborhood, within a community, within a nation, within the world, that is the emerging theme and conversation of this production, which very much feels like it's talking to the current era of American politics. There is something about the way that Bryan Cranston as Joe is styled in the final moments that feels reflective of the image of perhaps Trump, or at least Trump voters, complete with the baseball cap. Not in a way that's obvious enough to be crass, but also in a way that felt impossible not to notice. There's also a parallel in the script of something that George says to Annie when he tells her, having now reconnected to his father, who they have been ignoring and blaming for years, he tells her, we did a terrible thing. And almost exactly the same words are exchanged between Chris and his father earlier on in the play when they are talking about having supported and endorsed what they believe to be Kate's delusions for as long as they have about the possibility that Larry is still alive. It's very relevant to the emerging message of this production that the young characters of the play, this younger generation, bear all of this guilt about the responsibility that they have to the older generation. And when combined with the ultimate truth of this narrative, the betrayal of an entire generation by their parents feels powerfully prescient. That is the answer to why we need another production of All My Sons so soon after the last. That is the answer to the two often unasked questions. Why this play? Why right now? It's extraordinary to me that a nearly 80 year old play could be fueled by Eva Van Hove to speak with such articulate, inescapable meaning about the exact times that we are living in an entire generation betrayed at the altar of their parents choices. That is what this All My Sons is talking about. Of course, an unforgettable, extraordinary aspect of this production is its company. Let's talk about these performance.
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Mickey Jo
Bryan Cranston and Marianne Jean Baptiste play Jo and Kate Keller. We will talk about their performances. These are remarkable roles for brilliant actors. But before we talk about them, or even the supporting characters of the piece, I want to talk about these smaller roles of neighborhood characters who emerge for each of them only a few lines of dialogue at a time, which steadily do become more and more consequential when regarded in the rear view mirror of the play's conclusion. Particularly in this production. Every single line of dialogue, every single moment of casual interruption, every arrival of a character who we only meet for a few minutes, cumulatively, who spends the majority of their evening sat backstage at this theatre waiting to go on and play a small and quite casual scene feels so important, feels so necessary. And we get a sense of that early on because a lot of them are very comic. You have these men and their long suffering wives, you have marital tensions, you have kids running around, you have a lot of people cracking jokes at each other's expense. But in all this production plays with considerably more weight. There is something behind all of it. The answer Twitch has unlocked a little for us when, in spite of the portrait that is being painted here of man of the neighborhood, Joe Keller, we learn through one particularly frustrated character, the wife of the doctor living next door at Annie's family's old house, that there is no one in the neighborhood who doesn't believe that Joe was actually guilty and through a lie managed to avoid going to jail. This powerful scene, played brilliantly by Kath Whitehead, revealing all of the true emotions lingering beneath the niceties in the neighbourhood card games. Alia Dauphin also does brilliant work as Lydia, the neighbour with whom George George reunites, with whom he clearly has a past. And the subtext of this scene becomes overt as she is sort of seductively tugging at his shirt, asking him to come and meet her children in the home that she now lives in with her husband, sobbing in this lingering embrace that she shares with him. It's a really meaningful moment that does an awful lot to lend us understanding of George's character and everything that he has sacrificed. George is played with this all consuming resentment and determination by Tom Glynn entering in a hoodie, feverish, with this sort of anxious, explosive energy, one which is quickly and completely neutralized by Kate extinguishing the fire inside of him as she extends a warmth that he can't rationalize among the way that he has forced himself to imagine the Kellers. Crucially, we become acquainted with them as completely three dimensional people and human beings and kind hearted, well meaning human beings who care deeply about about family. It's in spite of that and alongside that that we discover these other truths about their character. By the end of the play, Haley Squires plays Annie Ann diva and she does some of her best work in an early confrontation with Kate after Kate has pronounced to everyone before Anne has come downstairs that she continues to wait for Larry and that she offers her hope. The exchange between them becomes then slightly heated when Annie replies with a firm no. And it's a very honest exploration of different experiences and different moments within the grieving process by the two. The mother who is determined to cling to the possibility of hope. This line about Anne noticing that his clothes are all still kept there and then saying to Kate, but the shoes were all shined, and her simply replying yes dear, hangs there so profoundly and sorrowfully because they both know what that means and so do we. The clothes can stay there indefinitely without care, but the shoes being shined kind means that she is still attending to them. It is an active, ongoing daily hope. Meanwhile, her Annie is sharp and incisive and passionate and trapped between a great many rocks and a great many hard places. Now, the role of Chris, the Keller's son, is ordinarily played by the brilliant actor Papa Estyedou. At this performance he was portrayed by the understudy for the role, Zack Wyatt, who I thought was staggeringly good. I don't know how many chances he had had had to play the role before this could have been a debut because it was still quite early on in the run. He was astonishing. And I think one of the hardest aspects of giving a performance like this, with a character like this, in a play that is so focused on relationship dynamics which shift and evolve and crumble into dust, is finessing a level of believable chemistry for him, particularly with Brian Cranston playing his father and with Annie as well. And it was beautiful work, believable and thorough. Chris is by the end of the play perhaps more transformed than any other character on stage as his entire world view is rendered incompatible with things that he has learned and he is forced to make hugely difficult choices. He is forced to bear all of the responsibility of the sins of the father, as it were. And I've seen this played with a certain quantity of anger, more often just with total woe as Chris becomes undone by all of this. But there was a real dangerous quality to the man he had been forced to become and an utter devastation when he exclaimed the line, don't you live in the world too? I actually burst, fully burst into tears. Not like a gentle like tears begin to roll down my face like just sudden and overwhelmed with the extraordinary emotion of that phrase.
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Mickey Jo
Is. Of course, the two titans of this production are Bryan Cranston and Marianne, Jean Baptiste as Jo and Kate Keller. And in these huge roles, they are giving masterful performances, each of them. And Marianne surprised me from the very beginning with this utterly rational, underplayed delivery of her earliest lines. She is strong and grounded. She is no Mary Tyrone from Long Day's Journey into Night. It's almost harder, I think, to watch such a strong woman be so affected by what has happened to her, by what this war has done to her and taken from her. And it's one of the most powerful lines of the play when she says, I'm sure in the dark of the night they're still waiting for their sons. And with that, everything that she is feeling and insisting upon becomes inarguable and nothing else needs to be said before we reach the play's conclusion, though she has become a thunderous inferno and has done such remarkable work in confrontation with all of the other characters on stage. She shares some electrifying exchanges with Jo as we steadily realize that there is some sense of her knowing exactly everything that he is afraid to admit. There is this understanding between them. All My Sons is often framed as a play about his culpability in all of this, but this is a Kate who is utterly complicit, too, and her performance reminds us of that. The way that she turns away when Larry, about Annie's father, says he murdered 21 pilots. The way that she meaningfully reassures her husband, be smart now, Jo. Another line that just hangs there, loaded with dreadful meaning. There's a power behind the insistent delivery of everything that she says, but we're also able to grasp when she is lying, perhaps to herself, but certainly to her son, when she tells him, your father, father had nothing to do with this. What happened to Larry had nothing to do with your father. What sort of flies in the face of that is what she later explains to him by saying, you can't possibly marry Annie because if you do, it means your brother is dead. And if your brother is dead, your father killed him. Finally, then, Bryan Cranston as Joe Keller. A mesmerizing performance, the kind of performance that reminds you of what acting can be and is meant to be. And it's an entire human being that he has crafted on this stage, completely distinct from himself, with this crackling drawl, a cackling laugh. He blushes about accidentally walking out to find his son kissing Annie. He plays a Joe who smiles often and does so with his entire face. It's a smile through which we can't possibly perceive villainy. But there is this creeping and eventually emerging sense of paranoia. And eventually, when the terrible, heavy penny drops, we understand him to be a decent man revealed, heinous, one of these great men whose accomplishments are able to shine brighter than the misdeeds for which they are never held accountable. And when, at long last, he has admitted to the ugly truth, he is evasive around the concept of remorse. He tells those around him, you wanted money. And with that, every interaction with the neighbours that we had seen in the introductory scenes of the play is suddenly brought into focus. We understand why Arthur Miller showed us all of those interactions. Actions established what this community was and the livelihoods of everyone living alongside them. And that this man cheated, that this man stacked the deck, that this man betrayed the American dream in pursuit of it. In Evo's production, though, the meaning has continued even further. A stark light is shone on the difference in the morality of these two generations. There's something uncomfortably familiar about hearing Joe Keller try and implicate his son in all of this by saying, it came too easy to you. Everything you got, it came too easy. I'm not usually one to see a powerful performance and then insist that the Olivier Awards begin engraving their statues in anticipation. But it's hard to conceive of anything quite as extraordinary as the work that Marianne Jean Baptiste and Bryan Cranston in particular are currently doing on stage at the Wyndham's Theatre. And with that, I have concluded my thoughts about this production of All My Sons. If you can get a ticket, it has already been reviewed, viewed very well. I believe it is becoming something of a hot ticket. I urge you to do so. This is vital, necessary theatre, which would already be a must see simply on the grounds of it being extraordinarily well done, brilliantly performed, a fantastic take on what I think remains a classic play, but it's the fact that it feels so, so relevant, which is not something that you always get in an Arthur Miller in an Ibsen in a Eugenio Niece. They are often regarded as masterpieces of their time. And though by my own definition Ivo Van Hoof's work over the last few years on the West End stage can be literally hit or miss, what a one star to five star redemption the last couple years have been. I thoroughly applaud the staging of an All My Sons that feels as though it is speaking declaratively about personal responsibility in the current moment in society. The play ends with Joe Keller grappling with the fatal realization that ultimately they may as well have all been his son Sons. This production makes it feel as though they are all our sons. Thank you so much as always for listening to my thoughts. Please share yours in the comments section down below. If you have had the chance to see this or another production of All My Sons, stay tuned for more reviews coming in the new year. And as always, I hope that everyone is staying safe and that you have a stagey day. For 10 more seconds, I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching. Have a stagey day. Subscribe.
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