The Believers Are But Brothers is a production that I already know will stand out in my mind when I think of theater in the future. Showing tonight and throughout this weekend, this show portrays the radicalization of young men today, using multimedia techniques to illustrate what it means to become a politically-minded person in the internet age.

For a $15 student ticket, you can come see this piece something that will either be a great statement on the polarization political culture of the United States or a cheesy attempt at alt-right condescension. This piece is an important venue of self-reflection, not only in ourselves but in how our peers are digesting and translating an alarming sector of American culture– and more importantly, of youth culture.

As always, the National Theater Live company put on a compelling show, paying tribute to our very own Arthur Miller, who attended the University of Michigan and even has a theater named after him on North Campus. The show is a classic, and it was well acted. Going into it blind, its twists took me by surprise and the way the play ended certainly shocked me. (Don’t worry, no spoilers!) This play aimed viewers’ attention much more on the acting, which was very different from the last National Theater Live play I saw, which was much more focused on the integration of acting, set, and costume.

The show begins in the backyard of the family of whom the show is centered around. And then they stay there, in that setting, for the whole show. I thought that was a very interesting choice with both pros and cons. First, I got a bit bored of that same setting, and I had expected it to change after intermission. Also, there was certainly a limit as to what could be performed or shown on a stagnant set. Despite these possible setbacks, the show was full and interesting nonetheless. The play was less focused on anything besides the words and acting, and the actors brought that forward well. The acting was thankfully good enough to keep the show from getting boring, because the production was barely more than just the actors on the stage as the set was unchanging. On the pros side, this also meant that the set could be very detailed and specific because it did not need to be moved in any way. This style was unlike plays I have seen before, usually with moving sets and gaudy costumes, and it sort of surprised me, although not necessarily in a bad way.

As the actors had the most prominent role to play in a performance with a stationary set, they were definitely the thing I focused most on. I was impressed by the range of each actor, although I thought the men played much stronger than the women (other than Sally Field of course). Their emotions were certainly strong, but I was surprised that I was unmoved, and did not feel very attached to the characters. I did enjoy the performance of Oliver Johnstone playing George Deever, the frazzled and angry brother who unravels the whole lie that the Keller family is keeping. He was the actor whose story I bought the most into, and I felt his pain when no one believed his claims. I liked that the cast was very small, and I thought it helped to keep the focus of the performance on the story being told.

Overall, I thought the play was a little boring and drawn out. I do think that the intended audience was a bit older than me, judging by the fact that the majority of the crowd was above the age of 50. Perhaps if I had done some previous research to understand the themes better, it would have been a more enjoyable show. But, I did have a pleasant experience watching the play and enjoying the superb acting!

Upon the uncertain arrival of their deceased son’s sweetheart, everything that has happened to the Keller family seems to be coming back all at once. The year is 1947, and we, the audience, are dropped into the backyard of Joe and Kate Keller’s family home. Since losing their eldest son Larry in the war, the Kellers and their remaining son, Chris, all have found their individual ways of coping with the grief that accompanies the loss of a loved one. Having found closure, Chris and Ann Deever, the once-sweetheart of Chris’s brother, both find in each other an opportunity to start fresh and build a life that is their own. From this comes a great heartbreak within Kate, who still refuses to give up the hope of her son’s return. Overshadowing these, however, is the reemergence of Joe Keller’s old secrets, and a new stirring of bad blood among Joe Keller and the family of Steve Deever, old neighbor and once-business partner who is now incarcerated for a crime that is still denied.

From the Old Vic in London, National Theatre Live presented an absolutely captivating production of Arthur Miller’s “All My Sons,” and despite the medium of live broadcast, the gripping performances and the quality coverage allowed for the entering-in of a truly epic yet intimate experience in classic theatre. Miller’s writing to this day stands as strong and compelling content that not only sparks the imagination of an audience, but introduces challenging themes and ideas that often act as convictions that remain ever-present.

Having seen “All My Sons” a time before this at a college level, I truly enjoyed comparing my two viewing experiences, and ultimately stumbling upon some new realizations. For example, a great theme that is touched upon is the notion that when one’s light of honesty goes out, they live in the darkness. From NT Live, there was a noticeably greater hopelessness in the atmosphere that was put forth, and the consequences of deep-seated dishonesty seemed to be made more resonant with the audience members. Entering into this play can be quite challenging to watch, for it’s not only pulsed with family drama and tragedy, but also a close look at how selfishness can lead to a chaos that tears family apart.

Two elements in this production that felt almost mis-matched in my mind were the contrasting tones from the characters of Chris and Kate Keller. While both actors performed their parts with great competence, the moods of the deliveries felt almost too distinct as Chris Keller delivered lines that were relatable and natural, while Kate Keller’s delivery held a wistful melancholy that often brought the peripheral activity to a thoughtful stop.

I frankly did not care for the pre-show short film that explored the production and cast perspectives on Arthur Miller’s work. One can very easily enter into this play without a production note that tries to persuade audiences that the content and themes are comparable with our economic climate today. A great work of art such as this can often tempt those involved to feel as though “this story needs to be told, now more than ever,” but a work’s timeless quality is cheapened when a seemingly self-righteous view of current events is present.

With a paced beginning up until a truly-climactic ending like a contemporary Shakespearean Tragedy, NT Live’s “All My Sons” had me on the edge of my seat, entranced by the scope and intimacy of this show. I left the Michigan Theatre with adrenaline pumping through my veins, anticipating the next show from National Theatre Live that I hope to one day experience.