On The Waterfront

Article by: Review by Sue Wilcox, English Teacher, St Olave’s School

There’s a strong 1950’s flavour to two new West End productions with Ken Stott in Arthur Miller’s A View from the Bridge and the incomparable Steven Berkoff in a stage adaptation of Budd Schulberg’s film classic On the Waterfront at the Theatre Royal, Haymarket. Given that Berkoff famously issued a death threat to the theatre reviewer Nicholas De Jongh, sued Julie Burchill for defamation and was deported from America in 2001, I guessed my ticket to a preview would provide a great night out.

To stage On the Waterfront might seem a risky venture, especially at a time when the family musical reigns supreme. The play has a complex history of journalistic articles, an iconic film followed by a play. Berkoff’s own fascinating artistic history might place him outside the reach of some theatregoers. His more popular appeal through Octpussy and Beverley Hills Cop belie his position as the master of physical theatre with a powerful political and class consciousness for the past 40 years.

The pared down, brutal set and the twelve Greek style ‘chorus’ of New York dockers battling corruption and poverty sees the actors leaping from being pall bearers to pigeons. Any fear that the ghost of Brando’s contender would overshadow the play is lost by the time Simon Merrell’s screams the iconic lines. This 21st century Terry Malone owns the frustration and tragedy of unemployment, corruption and degradation. The rapid changes from slow motion, almost 1960’s retro Batman-style mimed fight scenes to politically and emotionally rousing speeches worked beautifully and Berkoff, playing the brilliantly named Johnny Friendly, is truly demonic.

For drama students and teachers alike this production is a masterclass in how an actor’s body alone can dominate and mesmerise the stage, theatre and whole audience. On the Waterfront ends its London run on April 25.