THE PRICE IS (NOT) RIGHT

F. J. Hartland

In Act One of Arthur Miller’s The Price, the current offering at the Pittsburgh Public Theatre, furniture appraiser Gregory Solomon points out that nothing brings out the worst in a family than dividing up an estate.

The Price pits two brothers against one another.  Victor (Joseph Adams) is a reluctant cop facing retirement and a mid-life crisis; the other Walter (Sherman Howard) is a successful—maybe too successful doctor.  Each has a different interpretation of past events with enough regret to go around.

The play begins with Victor roaming the room he used to share with his father—a room filled with (maybe) valuable furniture, household items and memories.  Director Tracy Brigden launches the show with a paralyzing pace that gets the show started in neutral gear as Walter removes his hat…his coat…plays with a fencing foil.

The arrival of Walter’s wife Esther (Chandler Vinton) at least brings some life (and dialogue) in to the attic. Unfortunately, Vinton plays Esther as a shrewish harpie with a voice more annoying than fingernails being dragged across a chalkboard.

Esther and Walter go ‘round and ‘round arguing the same issues.  Then furniture appraiser Solomon (Noble Shropshire) appears.

Shropshire is a delight as the colorful Solomon, an 89-year-old, married three (or is it four) times, still carrying his discharge papers from the British Navy.  It is a wonderful performance, full of humor and wisdom.  For me, he saves the show!

Sadly, the appraiser and the cop also go ‘round and ‘round and ‘round having the same discussion/arguments.  Walter, the estranged brother, arrives after Solomon and Victor have (at last!) agreed on a price for the attic full of furniture.

At this point I thought, “Finally, the exposition is over and the play can begin.”Instead, it was the end of Act One and intermission could begin.

Adams is saddled with playing the “good” brother; Howard never comes across as being sincere.  Neither one is likeable, so it’s difficult to have empathy for either one of them.

The Price is a very talky play and is not aided by Brigden’s repetitive blocking.  One could nearly set a watch by her “okay-it’s-time-for-everyone-to-move-to-your-next-position” staging.

The set by Luke Hegel-Cantarella is beautifully detailed with antiques, including an old harp and a gramophone.  However, like most of the Public’s sets, it overwhelms the tiny actors in front of it.  It’s difficult not to get absorbed in looking at it instead of the play.  “Oh, look.  My grandmother had a breakfront just like that!”

The curtain rang down after two-and-a-half hours; all I could think was, “I gave up Project Runway for this?

The Price continues through April 4.