![]() ![]() Director Jose Carrasquillo, who made a handsome job of Samuel Beckett’s equally weighty “Happy Days” a few months ago, again teams up with designer Tony Cisek and bright actors to make a mid-20th-century monument look like serious fun to climb. Luckily, Theater J has put Miller’s drama in the hands of an insightful stylist. The character’s relentless self-examination is pitiless, and it takes a deft production to make this quest seem mighty, rather than just three hours of pretentious navel-gazing. “I don’t know if I have lived in good faith,” broods Quentin, the 40-ish lawyer whose mind darts through episodes in his past, looking for clues. ![]() How could Quentin’s two marriages have been such disasters? How do his own human smash-ups relate to McCarthyism, to the Holocaust? Arthur Miller made a banquet of agony in “After the Fall,” his 1964 drama about a good man named Quentin who is obsessed with his moral failings. ![]()
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