Settings Of Play - The mind, thought, and memory of Quentin.
FEATURES / CONTAINS
Unit Set/Multiple Settings
College Theatre / Student, Professional Theatre
RECOGNITION / AWARDS
As Howard Taubman outlines the play: "At the outset Quentin emerges, moves forward and seats himself on the edge of the stage and begins to talk, like a man confiding in a friend. In the background are key figures in his life, and they move in and out of his narrative. The narration shades into scenes, little and big. They are revelations and illuminations. They remind Quentin of an awkward young girl whom he made proud of herself. They bring the tortured image of his mother's death and another of his mother's fury with his father, who lost all in trying to save a floundering business. They crisscross through his relations with a number of women—the first wife who wanted to be a separate person, the second who drove him into a separateness and a possible third who knew, as a German raised in a furnace of concentration camps, that 'survival can be hard to bear.' These intertwining images bring back the memories of inquisition when men were asked to name names of those who had joined with them in a communism that they mistook for a better future…After the Fall is a pain-wracked drama; it is also Mr. Miller's maturest…For to sit in Mr. Miller's theater is to be in an adult world concerned with a search that cuts to the bone."
"The initial offering of New York's Lincoln Center Repertory Theater. A powerful and moving study of a contemporary man struggling to come to terms with himself and his world by probing back into the revealing and often painful events of his past. Rejoice that Arthur Miller is back with a play worthy of his mettle." - The New York Times
"A beautiful, remarkable play." - NY World-Telegram & Sun
"…strong, moving, and perceptive…" - NY Post
After the Fall premiered on Broadway at the ANTA Washington Square Theatre in January of 1964 under the direction of Elia Kazan.