Review of ‘The Price’ (2026, Marylebone Theatre): “High-value revival spares no expense despite slightly austere plot”

We know what to expect when we’re talking about an Arthur Miller play. For starters, don’t expect an ending where justice is served. At least not in a smooth way, without the necessary sacrifices. It comes as no surprise that a narrative involving two estranged brothers reunited to sell their late father’s old clutter has been named The Price, and we can only expect its themes of resentment, self-esteem, financial struggle, and self-reconciliation to still resonate with us despite its 1960s setting and Great Depression background.

Intimate and thought-provoking, the script teems with Miller’s uncanny ability for pathos and high drama without renouncing authenticity. The dialogue swarms with strength, subtext, and flow. And for the most part, during Act Two, both the plot and character arcs are extremely compelling, haunting, and ultimately, relatable.

Anyone can identify with the pain Victor has endured after giving up his potential career as a scientist to support his unemployed father. We understand Walter’s regrets about not saving his sibling from a life he didn’t sign up for. And we can feel his frustration when he tries to make amends but ultimately fails to pass through Victor’s rancorous wall.

Despite these fortes, it’s still far from the perfect play. If the second half is deliciously gripping, Act One doesn’t generate the same engagement, moving at an annoyingly slow pace by dedicating too much space to exposition rather than letting the conflict unfold sooner. One might argue that all these elements are nonetheless necessary for the story to work. Yet, Miller has proved himself a master of structure in other examples of his oeuvre. Sadly, this one doesn’t seem to fit that mould.

Directed by Jonathan Munby, the overall execution brims with truthfulness thanks to its naturalistic style, which some actors capture with more deftness than others. Henry Goodman delivers an enjoyable Gregory Solomon, the buyer, whose captivating presence is the highlight of an overall committed and adequate performance. There is a lack of layering, however, which leads to a slightly one-dimensional take on the role, focusing too much on the personage’s accent and the comedy rather than the subtext and nuance.

Elliot Cowan puts together a convincing Victor for the most part. Although some sections come out a little flat, we can find an explanation in the character’s reserved essence, forged after years of disappointments and forgoing. Yet, it’s John Walkin’s extraordinary rendition of Walter that makes the entire play function, elevating the rest of the performances through the remarkable gravitas, command, and soulfulness that imbues every aspect and detail of his portrayal.

Some additional praise should be given to Jon Bausor’s visually impactful set. Through a figurative approach, the design overflows with intricacy and raises the standards for the venue’s staging. Similar to Daniel’s Husband, it operates on a higher budget, and the outcome isn’t too far away from West End quality — not that the district has provided us with many reassuring productions lately (explanation in tomorrow’s review).

Raw, sincere, and stimulating despite an excruciatingly slow-burning first act, The Price demonstrates dramaturgical worth, which is underpinned by a generally dexterous revival. Although the script doesn’t come without its flaws, its emotional punch and thematic relevance are a robust enough counterbalance that still make it a recommendable watch. And we can confidently call it one of the highest bids in the current Off scene.

All pictures credit to Mark Senior.

The Price plays at London’s Marylebone Theatre until 7 June. Tickets are available on the following link.

By Guillermo Nazara