Photos by Manuel Harlan

Here in America: A Historical Debate That Struggles to Spark Emotion

Here in America aims to explore a critical moment in American theatre and politics, focusing on the ideological clash between playwright Arthur Miller and director Elia Kazan during the McCarthy-era witch hunts. While the play, written by David Edgar, promises a deep dive into this historical tension, it falls short in delivering a fully engaging or emotionally resonant drama.

Set against the paranoia of the 1950s and the House Un-American Activities Committee (HUAC) trials, Here in America stages an imagined conversation between Kazan (played by Shaun Evans) and Miller (Michael Aloni). Both men grapple with their decisions – Kazan’s cooperation with HUAC and Miller’s refusal to name names – yet, for a play about personal and political betrayal, the stakes don’t always feel immediate.

While the dialogue is rich in intellectual debate, it lacks the emotional punch needed to elevate the material beyond a highbrow discussion. There are no explosive moments or great revelations, which leaves the play feeling somewhat flat by the end.

Missed Potential: Here in America Lacks the Fire of Its Subject Matter

One of the missed opportunities of Here in America is its limited exploration of other social ramifications of the era, particularly the queer outings during the McCarthy period. While the play focuses heavily on the political betrayals of the time, it barely touches on the persecution faced by Queer individuals who were also targeted in the same witch hunts.

The omission of this broader context feels like a significant gap, considering how intertwined Queer communities were with the creative circles of Hollywood and Broadway during this period. Including this element could have given the play added emotional depth and relevance to today’s discussions on identity and personal safety in oppressive political climates.

Evans’ portrayal of Kazan is solid, giving us a man visibly conflicted between survival and self-respect. Aloni, making his UK stage debut, plays Arthur Miller with the quiet intensity that the role demands, but the character’s internal struggles remain largely underexplored. Their interactions offer intellectual friction but little dramatic catharsis. The play hints at larger personal betrayals – such as Kazan’s and Miller’s entanglements with Marilyn Monroe, played by Jasmine Blackborow – but these moments come across more as distractions than substantial emotional beats.

Director James Dacre’s staging is clean and minimal, with Simon Kenny’s stark set design and Charles Balfour’s lighting enhancing the intimacy of the Orange Tree Theatre. However, even with the close proximity of the actors, the play’s tension often feels muted, with moments that could have built more drama left unresolved. The absence of any significant climax leaves the audience wanting more from a story that had so much potential.

Final Thoughts ★★★

Would I recommend Here in America? It’s a mixed bag. While the play offers an interesting historical glimpse into the complicated relationship between two titans of American theatre, it doesn’t quite land as a compelling drama. The omission of deeper themes, such as the queer persecution of the time, makes the narrative feel incomplete. If you’re looking for an intellectual debate on political morality, you may find something here, but if you’re after a more emotionally charged experience, you might leave feeling unsatisfied.

Playing at the Orange Tree Theatre until 19 October 2024.

Disclaimer: Ticket was purchased without any association or endorsement from the theatre.

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