A view from the bridge draws on a news item that profoundly troubled Arthur Miller; a stormy family situation in the midst of the Brooklyn immigrant population, as perfect and enigmatic as an expression of Greek destiny. The playwright himself admitted that what fascinated him was “the horror of a passion that, despite being contrary to the interests of the individual that was subject, despite all the warnings that he received, and even despite this destroying his moral principles, it continued to tighten its hold on him until it destroyed him”.
“The action is one long flash-back – explains Massimo Popolizio –, Eddie Carbone, the protagonist, takes to the stage when the audience is already fully aware that he is dead. For me, this is a magnificent opportunity to stage a work that clearly has much in common with a screenplay, and as such requires close-ups, long shots and wide angles. In light of all the material that this work has generated since 1955 (the year it was first performed), i.e., films, photographs and television series, I feel that a theatrical version that takes into consideration all of these “children” could be interesting and “fun”. A great story... presented as a film... but on stage. With the acting that the theatre requires, with the rhythm of a series and the music of a film”.