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Theater: Arthur Miller's 'The Price' February 8, 1968 Theater: Arthur Miller's 'The Price' By CLIVE BARNES Generally speaking, the reaction of a first-night audience to a Broadway play is as predictable as a wedding service-it always says 'I do'-and therefore is irrelevant to report. Yet at the Morosco Theater last night the cheers for Arthur Miller's new play 'The Price' seemed more than an idle tribute. Behind them was the sincerity of an audience that had been deeply moved. At is own level of psychological problem drama it is indeed afar better than average example of the genre.

It is a play that will give a great deal of pleasure to many people and deserves a long and profitable run. But regrettably-or so it seems to me-the author of 'Death of a Salesman' is still waiting in the wings, unfulfilled. 'The Price' of the title is the legacy of the past. As with Ibsen, the classic playwright whom Mr.

Miller has most in common, the past is dotted with choices, and the results of these choices govern the present. 'You have to make decisions,' as one of the characters says here, 'and you never know what's what until it's too late.' Miller's plays so often have characters poised painfully, if metaphorically, between a plaintive 'Ah but!'

Arthur Miller PDF (Adobe DRM) can be read on any device that can open PDF (Adobe DRM) files. List Price: $ 66.95 Our price. Arthur Miller The Price Pdf Grille. PENGUIN CELEBRATES THE Arthur Miller Centennial THE PORTABLE ARTHUR MILLERArthur Miller CENTENNIAL. The Price The Creation of the World and Other Business. The Price is a rarely staged Arthur Miller work that's flawed but fascinating. The Price Through February 13 at the ArtSpace at Crestwood Court (formerly Crestwood.

And a poignant 'If only then!' 'The Price' is one of the most engrossing and entertaining plays that Miller has ever written.

It is superbly, even flamboyantly, theatrical, running without an intermission, complying with the classic unities of time, place and action, and Miller holds the interest with the skill of a born story-teller. But, of course, the story itself is over. It is typical of Miller's approach here that nothing does, and nothing possibly could, happen in 'The Price.' The action has ended before the play starts, and we the audience have been brought here to listen to the explanations, to comprehend how these men by the choices of their youth have come to be what they are. The play takes place in the attic of a once prosperous Manhattan brownstone, soon to be pulled down in the cause of architectural progress and financial stability. The attic is piled high with good, if shabby furniture and the knick-knacks of a past age.

An old radio, a console gramophone, a pile of dusty records-the junk of a lifetime is spread out, naked, as if were, in the cold table of time. Grobschnitt Rockpalast Stranglers on this page. A police sergeant enters and looks round the room with a mixture of affection and concern.

He strokes an old harp, he tries the Victrola, and the late afternoon stillness is broken with the scratchy tones of Mr. Gallagher and Mr. Shean still asking the well-honed questions of yesteryear. Gallagher, now Mr.

Crash Crash Into Wall. Gallagher, will you tell me what that question really means, I just wanted to find out.' The cop stops the record.

We, too, are beginning to want to find out, and we are all in for a lot of questions. Man Raze Surreal Rapidshare Download on this page. Miller goes about his business dexterously. The cop's wife enters, and deftly, in a few minutes of dialogue, the whole play is set up. The cop is a failure-a guy who didn't finish college because he chose, yes, chose, to support his father, a casualty of the Depression. His brother, who refused to help beyond contributing five dollars a month, has gone on to become a rich and famous surgeon. The two brothers have not met for 16 years. Now the cop has asked the surgeon to come along to help dispose of their father's furniture, long mouldering in the attic.

Now Miller plays a shrewd, well-judged card. We are instinctively waiting for the monster brother, but along comes Solomon, an incredibly aged, incredibly wise antiques dealer, who has come, almost out of retirement ('You must have looked up my name in a very old telephone book'), to give a price for the furniture. From then on Solomon weaves through the play, part comic relief, part dramatic contrast, always amusing, always apt. But at last the surgeon arrives. This is the nub of the play-now the questions have to be asked and answered, and Miller does not flinch from this. (A stranger who saw the play out of town sent me a postcard suggesting that it might be called 'Ploys in the Attic,' and there is justice in the quip.) Of course, things are not quite what they seem.