Review: All My Sons (Wyndham’s Theatre)

Review by Daz Gale

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There have been some fantastic productions of Arthur Miller classics in the West End over the last few years, with acclaimed revivals of The Crucible, A View From The Bridge and Death Of A Salesman wowing critics and audiences alike. It has been a while since the West End has seen a production of All My Sons; however, with its most recent London outing in 2019 at the Old Vic. With a star cast attached and some distinctive albeit divisive creatives attached to it, Ivo Van Hove’s revival has become one of the most anticipated plays of the year, but would the truth behind Miller’s writing be uncovered this time around, or would the whole thing be a tragedy of another kind?

Written in 1946, All My Sons is centred around self-made businessman Joe Keller. In the aftermath of the war, his eldest son is missing in action, and his business partner has been imprisoned for criminal manufacturing deals that caused the deaths of multiple pilots, including the presumed death of Joe’s son, Larry. Though he had not been found guilty himself, the truth about Joe’s involvement threatens to come out when the Keller and Deever families reunite to finally address the ghosts from their past.

While Arthur Miller’s timeless writing remains as fantastic now as it would have been when All My Sons debuted, it is down to how the story is interpreted and realised by the creative team. I personally hadn’t connected with the previous Old Vic production, but the connection was clear to see this time around. Ivo Van Hove’s direction masterfully takes all of the suspense of the story and gradually releases it in a slow but satisfying build-up. The tension felt throughout is palpable - I found myself literally on the edge of my seat, and, looking around, I was not the only one.

Van Hove’s production feels fresh and exciting while simultaneously staying true to the essence of the story. He has managed to pull out of the urgency from the story, allowing characters to feel fully fleshed out, particularly that of the main protagonist, Joe Keller (Bryan Cranston). Written in three acts, the choice has been made to run the entire story with no interval. With an official running time of 2 hours 10 minutes (though it may have been closer to 2 hours 20), it is a tough ask, but one that pays off significantly. Not only does the time go incredibly fast thanks to the exceptional pacing of this production, the choice to never pause for breath heightens the suspense crucial to this play’s success.

This production of All My Sons also benefits from being incredibly stylish - the master vision of designer Jan Versweyveld. The Kellers’ backyard is fairly sparse, apart from the fallen tree that provides the only seating, though it never becomes dull from a lack of set pieces. The opposite proves true with no distractions, allowing the audience solely to focus on the characters and all of the riches this story possesses. Versweyveld’s lighting is similarly thrilling, transforming the stage drastically throughout with some inspired choices - the result is always beautiful and sometimes haunting, complementing the present themes.

A particularly riveting scene accompanies the arrival of George Deever (Tom Glynn-Carney). Pulsing lighting is accompanied by an ominous drumbeat in a fine example of Tom Gibbons’ incredible sound design. One surprising element of this version of All My Sons is the use of music, providing a subtle yet atmospheric soundtrack for the action - never detracting from the action but instead amplifying it, and adding to the suspense. This play is a perfect example of what happens when all of the creative elements come together to create theatre magic. This may be a distinct and very different vision from other productions of this play that have come before, but under Van Hove’s direction, they have united to create a cohesive and exhilarating vision. This is best demonstrated in the heartstopping final moments of the play - incredibly clever and breathtaking in its execution, it ends the play on an impeccable note, as one of the stronger moments of a consistently striking production.

A star cast has assembled for this production, delivering some of the best performances I have seen this year. Marianne Jean-Baptiste is awe-inspiring as Joe’s wife, Kate. Demonstrating incredible versatility, her warm side battles with her grief and denial about the fate of her son to create a phenomenal, well-rounded portrayal that has the ability to break hearts with her authenticity. Paapa Essiedu is quite simply incredible as Joe’s son, Chris. It’s a slow-burning character, and as the truth comes out, the horror of the realisation is flawlessly displayed by Essiedu. A pivotal scene with his father as the play nears its climax felt like a meeting of two of the finest actors around in a sequence so good, you genuinely could hear a pin drop in the Wyndham’s Theatre. Though he doesn’t appear much in comparison, Tom Glynn-Carney brings a captivating energy as the unstable and haunted George. A performance that feels distinct compared to his stellar castmates, it is one of the standout performances of the play.

The undoubted star of this show, however, is Bryan Cranston, making a welcome return to the London stage in a blistering performance. Leading the play as Joe Keller, his undisputed talents as an actor have spoken for themselves over the years, and not only is this another example of why he is regarded as one of the best in the business, it may even be a new peak for him. Cranston’s magnetism in the role leads to a character that charms while conniving, always trying to bend the truth to maintain his own freedom, without giving a thought for who or what will be sacrificed in doing so. There is a real weight to him as an actor, thanks to Cranston’s gravitas and charisma, making it impossible to take your eyes off him during the play. With moments of anger and intense emotion, Cranston has his work cut out for him as Joe, but the result is one of the strongest performances of the year, and one that should easily get him an Olivier nomination and possibly the win.

Though I haven’t always aligned with Ivo Van Hove’s vision in some of his past shows, his work on All My Sons may be his best yet. Absolutely striking, it all comes together to create an All My Sons that feels distinct from any production that has come before it, and also has a sense of danger to it. There is a real sense of genius at play here, particularly when it comes to the masterful art of suspense and tension. The creative elements are more than matched with some of the finest acting you will ever see on a West End stage, and the result is a contender for one of the best plays of the year. Thrilling from start to finish, this is what theatre should be - never being afraid to try something new rather than resting on its laurels. It is a risk, and one I'm sure not everybody will love, but, for me, this is what I want to see when I go to the theatre. Respectful to the original story while bringing it into the 21st Century, All My Sons is a triumph.

All My Sons plays at Wyndham’s Theatre until 7th March 2026. Tickets from https://allthatdazzles.londontheatredirect.com/play/all-my-sons-tickets

Photos by Jan Versweyveld