But could he actually be implicated in such a sordid business? Could Joe Keller -- family man, successful business owner, personification of the American Dream -- really be guilty of manslaughter?
Even from the start, Deitrick waggles his hands instead of pointing directly at things, as if to suggest Keller's indecisiveness. With a dark grin smearing his face, Deitrick sits to one side as others discuss the details of the case that for years he's been trying to elude. His business partner remains in prison even after Keller got himself exonerated. Was justice served?
& lt;span class= "dropcap " & D & lt;/span & eitrick whittles chunks of wood and remains silent; he brandishes a paring knife against the apples that lie helpless in his hand. Small details, but telling ones: The rage simmers just below the surface, and while we may think it's aimed at his former next-door neighbor and business partner, soon it becomes apparent that Keller's raging at himself. One playful-kidding exchange between Keller and his son Chris (Damon C. Mentzer) had the right edge of implied rage in it, with Deitrick's coiled fist pressing against Mentzer's cheek uncomfortably long. The moment pulled a veneer of pleasantry over father-son animosities that we sensed but couldn't yet figure out.
Yet Deitrick's accompanying tirade, considered vocally, seemed weak alongside the strength of the physical acting. And this was one of several moments in director Jessica McLaughlin Sety's show that didn't carry their full emotional or tragic weight: the cattiness of a next-door neighbor, the grief of the dead brother's girlfriend when she first has to impress upon others the finality of his death, a mother's refusal to believe that her son might be dead, the righteous thirst for vengeance by the son of an unjustly accused man. All of these emotional sequences lacked intensity. And yet somehow McLaughlin Sety's production manages to be absorbing for its more than two-and-a-half-hour length.
For example, with the character of the son (who would have been easy to typify as a straight-arrow idealist), Mentzer shows us Chris's vulnerability and naivet & eacute;. From his first appearance in pleated trousers, clutching the Sunday paper with confidence, to our final image of him crumpled in grief, Mentzer traces a decline -- from idealism to disillusionment -- that's convincing. As Keller's wife Kate, Kathleen Malcolm demonstrates how much energy it takes to maintain belief in a set of lies; repression like hers would suck the life right out of anybody.
& lt;span class= "dropcap " & W & lt;/span & ith all the references to fate and guilt and the enmity of neighboring families, All My Sons can feel like Greek tragedy played in the flouncy dresses and double-breasted suits of 1940s America. Peter Hardie's set design -- clapboard houses, looming back fences, garbage cans just around the corner of the back stoop -- provides an arena for some dark-night-of-the-soul self-examination while managing to look romantic in the late-night scenes as well.
Miller was only 31 when his second play premiered on Broadway, and he was still learning his craft. He lays on the symbols a bit thick (a child's game, a windblown tree) but he could also generate arresting phrases in a play about repression ("a talent for ignoring things") and the post-war prosperity of those with survivor guilt ("just loot with blood on it"). In a similar way, this production at the Civic sometimes displays its excesses. McLaughlin Sety's blocking can be excessively stagy (Mentzer on a raised platform for a speech about manliness, a woman standing at attention midway between two characters vying for control over her). But the biggest emotional wallop arrives where it should, in the third-act finale, and the emphasis throughout on such themes as the impossibility of entirely untainted profits was well placed.
& lt;span class= "dropcap " & I & lt;/span & n Miami this week, a man named George Myles Jr. was sentenced in federal court. His offense? Lying about the safety of airplane parts that he had sold to the Department of Defense. The parts were "flight-critical: their failure could be potentially catastrophic."
In a time of Iraq war profiteering -- and 60 years after it was first performed -- Miller's All My Sons still has an eerie resonance. The Civic's production demonstrates that our interlocking responsibilities go far beyond family allegiances.