Dominic West cuts a disheveled figure for Arthur Miller’s A View From The Bridge’s West End photocall after previously criticising London theatre audiences
Dominic West cut a disheveled figure for Arthur Miller’s A View From The Bridge photocall as he looked rugged in violent fight scenes on Wednesday.
The BAFTA award winner, 54, transformed for his performance as he smoked a cigarette on stage while wearing a disheveled shirt and our boots.
To match his rough-looking docker ensemble, he paired his worn look with distressed jeans and grimy suspenders.
For the theater photocall at the Theater Royal Haymarket, he looked emotional as he took part in a racy bust on stage.
Dominic performs every week from May 22 to August 7, Monday to Saturday at 7:30 PM.
Dominic West cut a disheveled figure for Arthur Miller’s A View from the Bridge photocall as he looked rugged in violent fight scenes on Wednesday
The BAFTA award winner, 54, transformed for his performance as he smoked a cigarette on stage while wearing a disheveled shirt and our boots
Arthur Miller’s 1957 drama is a classic American play about a working-class family in 1950s Brooklyn, New York.
The play follows Eddie, played by Dominic, a dock worker, as he struggles with his possessive feelings towards his niece in light of her impending marriage.
Immigration, love and property all come to a head in one of Arthur’s most intimate dramas.
The concept for the play was originally conceived in a screenplay entitled The Hook, developed in collaboration with prolific theater director Elia Kazan.
The film was never produced due to pressure from the committee and since the film was never made, Arthur took inspiration from working class dockers in Brooklyn and created this story.
When Dominic first took to the stage in the play, he admitted that he was not impressed with the West End theater audiences and that many of them didn’t really want to be there.
The actor left for regional theater and began appearing in Arthur Miller’s play at the 120-seat Ustinov Studio in Bath in November.
Speak with The timesDominic admitted that he thinks many people in London’s West End theaters are tourists who are only there as part of sightseeing in the capital.
To match his rough-looking docker ensemble, he paired his worn look with distressed jeans and grimy suspenders.
For the theater photocall at the Theater Royal Haymarket, he looked emotional as he took part in a spirited on-stage brawl, which involved a fistfight and using chairs as weapons.
Dominic performs every week Monday to Saturday at 7:30 PM from May 22 to August 7
Arthur Miller’s 1957 drama is a classic American play about a working-class family in 1950s Brooklyn, New York
The play follows Eddie, played by Dominic, a dock worker, as he struggles with his possessive feelings towards his niece in light of her impending marriage.
Dominic pictured with fellow theater star Kate Fleetwood
His character in the play was seen wondering while smoking a cigarette
The photos showed a range of emotions from the actor as he was seen pleasantly surprised just scenes after a burglary
And Dominic handled his fight scene with professionalism as he flexed his muscles and guarded his face with his fists
When Dominic first took to the stage in the play, he admitted that he was not impressed with the West End theater audiences and that many of them didn’t really want to be there.
The actor left for regional theater and began appearing in Arthur Miller’s play at the 120-seat Ustinov Studio in Bath in November.
He said: ‘That means only a certain small group of people will go to the theater and probably won’t enjoy it much.
‘And you get a lot of tourists in London and people aren’t necessarily there because they want to be there… it’s because it’s part of the tourist trail.’
The Crown actor, who is from Sheffield, added that he has always enjoyed performing in regional theaters where he feels a greater sense of ‘local support’.
He said: ‘I’ve always enjoyed the non-London crowd. In Sheffield you certainly get a great feeling from the local support you get and from a real hunger for a good play and a good night at the theatre. That’s the case everywhere else, of course, but I think it’s more tangible outside of London.’