Review: The Man who had all the Luck

Still recovering from the piercing cries of witchery that kept the audience on the edge of their seats the last time a Miller play hit St Andrews, this time I […]


Still recovering from the piercing cries of witchery that kept the audience on the edge of their seats the last time a Miller play hit St Andrews, this time I couldn’t help but nestle into my seat at the Byre as I watched a notably less exciting production. Though Sell a Door Theatre Company refers to The Man Who Had All the Luck as “a rarely performed gem,” I’d be willing to test my own luck by placing a bet that the mundane plot- equipped with unnecessarily drawn-out scenes, and wavering culminations of events- is why this piece remains in obscurity.

The play follows the prosperity of David Beeves (Steven Bisland), a young man whose actions are continually met with good fortunes, and the lack-there-of experienced by his family and friends. Feeling that this luck is unnatural, David is unable to appreciate his success, for he is consumed by the belief that his next decision could be the one that destroys it all.

The first act seemed like it would never end, as page after page of dialogue was wasted on trivial matters, and then once it did finally come to a close, I was disappointed to realise that all I had witnessed was a prolonged set-up for the events of the second act. Act two was admittedly much more enjoyable than the first, as the rhythm quickened and the plot intensified. New dimensions were also given to the characters, such as Shory, played by Kenny Blyth, whose monologue about how his own luck ran out, and the real reason why he had ended up in a wheelchair was powerful. However, it wasn’t until the emotional performance given by Christopher Anderton, Amos, when his life-long ambition of playing in the major leagues is shattered, that I felt fully engaged in the play. Overall, the cast was the best part of the production, with the exception of Megan Elizabeth Pitt, Hester, whose reactions were continually understated, even failing to adequately express remorse upon her father’s death.

Moreover, I believe that to successfully revive a play like this, which was not very well received upon first opening and has since remained relatively unknown, requires an innovative take on some element of the production. Near the beginning, contrast lighting and daunting music were used to enhance the dramatic entrance of Mr. Falk (Edward M Corrie). Had this technical direction been used as a recurring element later on in the production, it may have worked, but instead it made the scene too melodramatic, and Corrie’s performance seemed overly theatrical and unbelievable.

Though The Man Who Had All the Luck may not be Arthur Miller’s greatest success, I would still recommend that any fans of the playwright take advantage of seeing one of his lesser-known pieces. Perhaps you’ll even spot a few connections to his later works (…any thoughts on that red car?)

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