Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques. 

This review contains spoilers.

As someone who can barely sit through an episode of a sitcom without checking my phone, I was hesitant to see Berkeley Repertory Theatre (Berkeley Rep)’s 165-minute production of “All My Sons.” I was initially concerned that it would be a long, talky drama for critics to praise and senior citizens to watch politely, but it quickly became clear that the play is an electric exploration of grief and guilt. I cannot remember the last time I was so shaken by a theatrical performance.

The dark Arthur Miller classic follows an American family trying to move on after their son, Larry Keller, goes missing during World War II. Larry’s mother, Kate (played by Wanda De Jesús), still has hope that Larry is alive. His father, Joe (played by Jimmy Smits), is less optimistic. Meanwhile, their other son, Chris (played by Alejandro Hernandez), tries to pursue Larry’s former fiancée, Ann Deever (played by MaYaa Boateng). Although the script starts off slow, the story becomes much more complex in the second act, keeping audience members on the edge of their seats.

Throughout the drama, Miller sprinkles in clever details that give his characters dimension. For instance, early in the play, Joe convinces a neighborhood kid that he is a cop with a jail in his basement. His actions subtly illustrate his desire to be perceived as the “good guy” despite his morally questionable decisions, which are revealed later in the play.

Miller forces us to consider how the characters’ actions and aspirations do not align, allowing for personal reflection with political implications. Different messages present themselves depending on how audience members cast moral judgments regarding how to pursue the American Dream. I found these ideas particularly relevant as a freshman struggling to figure out how much to focus on pursuing a lucrative career at the expense of finding work that has a positive impact. Regardless of your individual experiences, the play’s messiness makes it both a visceral and an intellectual experience.

Celebrity actors Smits and De Jesús, who are partners in real life, stole the show. Though Berkeley Rep prominently advertised their performances and the gimmick of a real couple playing a stage couple, they still managed to surpass expectations, leading the cast with relaxed yet nuanced performances and a knack for navigating the play’s tricky emotional beats. Unfortunately, many of the supporting actors were significantly less convincing, which made the ensemble feel unbalanced, but this generally did not detract from the effect of the play.

My one criticism of Smits’ performance, and the production as a whole, is that it felt overly reverent. When Smits said the play’s title in a line of dialogue, he looked at the audience instead of continuing to stay in the moment with his scene partner. I would be interested to see what Smits and the team could have done with the material if they further prioritized a sense of intimacy.

At Stanford, undergraduates rarely attend plays off-campus, myself included. “All My Sons” made me realize how much of a shame this is. There is great theatre in Northern California — and accessible prices for students — if you are willing to leave the Stanford bubble for a night. Although there are lots of fun things to do on campus and in Palo Alto, it is an underrated thrill to engage in the broader Bay Area arts community.

For those who appreciate dynamic storytelling and powerful performances, I highly recommend Berkeley Rep’s “All My Sons.” It truly feels like the play was written for today, a testament to the strength of the cast and production team.

“All My Sons” closes March 29.