Dramatic heroes are traditionally dogged by misfortune. But in Arthur Miller's rarely seen 1944 play, a man is cursed by good luck. Although it is intriguing for its intimations of later, greater Miller, it is striking how well it survives independently in Sean Holmes' invigorating revival.
David Beeves is like a midwestern reversal of Job in that the gods seem to smile on his every endeavour. But his success only intensifies his guilt over his brother's failure to make it as a big-time baseball pitcher, and there comes a point when he craves catastrophe to validate his own existence.
In the end, there is something glib about the way Miller wraps the play up, but you know throughout that you are in the hands of a natural dramatist. And you get hints of Death of a Salesman in the magnificent scene where a Detroit talent scout comes to seal the fate of David's brother.
Holmes' production, nicely pitched between reality and dream, is very well acted. Andrew Buchan, as David, moves plausibly from youthful exuberance to mental disintegration while still convincing you the hero is a good man. Felix Scott as his damaged brother and Michelle Terry as his quietly appalled wife also give strong performances.
The pleasure of the evening lies in recognising the inherent quality while acknowledging the technical flaws. You can feel Miller exploring the theatrical terrain he was to make uniquely his own.
· Until April 5. Box office: 0870 060 6624. A version of this review appeared in later editions of yesterday's paper.
