There are certainly moving moments in this version, given Miller’s haunting tale of jealousy and trauma, but van Hove has staged a showy production that replaces subtlety and depth with flash. He appears to have envisioned Miller’s play as a mix of opera and Greek tragedy. Miller too was aware of theatrical history, as with his Greek-chorus type narrator in the play, but van Hove has heightened the drama with bursts of loud, ultra-significant music and often steady sound beats meant to intensify.

He has added other stage foolishness, apart from the bare feet, with the 17-year-old niece Catherine leaping into her uncle Eddie’s arms and wrapping her legs around him like a young child. At the violent climax the characters huddle as as if in a mass wrestling match, a visual muddle instead of clarity. But, you see, this director is fond of punctuating with concepts more serving to his attempt to be different than to the play.

This production is mounted with audience members on either side of the stage—nothing wrong with that-- as well as in front of it. A roof is raised as a curtain to reveal the rectangular playing area, much like a boxing ring. There is virtually no scenery. The effect strips away Miller’s reality and creates a showcase for characters to move and emote as if they are specimens to be studied rather than flesh and blood people in their actual environment.

But there is some fine acting. Mark Strong, as longshoreman Eddie Carbone living in the Red Hook section of Brooklyn, gives a powerful, if not especially nuanced performance, as the uncle who, with his wife Beatrice, has raised her niece Catherine, played by Phoebe Fox, rigidly and protectively and harbors sexual feelings toward her. Nicola Walker as Beatrice struggles with the marital relationship. Michael Gould firmly plays Alfieri, lawyer and narrator.

Trouble escalates when Beatrice’s two Sicilian relatives arrive as illegal immigrants and are given shelter with the Carbones. One is the attractive, blond Rodolpho (Russell Tovey), the other the tougher Marco (Michael Zegen). Catherine falls madly for Rodolpho, and it is difficult to see the transformation from the child-like teenager to her sexual frenzy. She decides to burst from the strict confines of her uncle to freedom and marriage with Rodolpho. Does he want to marry her for immigration status?

Eddie goes crazy with anger, wanting to keep Catherine under his control, and at one point he suddenly kisses her on the mouth with passion. He also kisses Rodolpho in an effort to tab Rodolpho as probably gay.

Eddie informs immigration authorities that Rodolpho and Marco are illegal and Marco vows to seek revenge. The situation is clearly headed for tragedy, with van Hove pulling out the stops in his effort to stage the play unconventionally.