Review! The Price at Marylebone Theatre, May 2026

The Price makes its way to the independent Marylebone Theatre, a venue that, over its three-year run, has largely championed new work by contemporary writers. This revival is a welcome addition to its programme. While not always considered one of Arthur Miller’s most well-known plays, it remains a deeply respected work, frequently revived and previously attracting talents such as Danny DeVito, David Suchet, and Mark Ruffalo. This London production features a strong four-person cast of Henry Goodman, Faye Castelow, Elliot Cowan, and John Hopkins who bring both sharp wit and underlying tension to the piece.

Written by Arthur Miller and directed by Jonathan Munby, The Price is set in the 1960s yet feels strikingly relevant today. The drama centres on two estranged brothers forced to confront their past as they decide what to do with their late father’s possessions, guided and challenged by the shrewd furniture dealer, Gregory Solomon. As tensions rise, the play explores morality, unresolved trauma, and fractured relationships, offering a sharp reflection on American capitalism and materialism. It ultimately asks how far money can come between family and what the true cost of a life lived really is.

From the moment you step into the theatre, the staging and set design by Jon Bausor is striking. The space feels like a fully realised attic, complete with a sloping roof and small windows casting in moonlight, beautifully enhanced by lighting designer Anna Watson. It immediately immerses the audience in the world of the play, a space we inhabit for the full two and three-quarter hours. The actors enter via a stage door, as if physically climbing into the attic, adding to the production’s sense of realism.

We are first introduced to Esther and Victor Franz, played by Faye Castelow and Elliot Cowan, who share convincing chemistry and deliver strong New York accents. The arrival of Gregory Solomon brings a welcome shift in tone; his warmth, wit and perfectly timed humour provide much-needed relief from the mounting tension. His absence in the second act is notably felt, particularly as the unexpected entrance of Walter, played by John Hopkins, shifts the dynamic and drives the conflict to its core.

The first act is particularly strong, offering rich character development and a compelling introduction to Solomon. On the surface, he is there to assign monetary value to a lifetime’s possessions, but in typical Arthur Miller fashion, he becomes far more significant. Acting as both mediator and observer, Solomon cuts through the brothers’ tension with humour, insight, and a quiet philosophical edge, bringing levity while prompting deeper reflection on age, survival, and what things and people are truly worth.

As the second act begins, Solomon is taken unwell and disappears off stage for an extended period, and his absence is keenly felt. While Elliot Cowan and John Hopkins deliver compelling performances as bickering brothers, the prolonged exchanges between them begin to lose momentum. The conflict lingers longer than necessary, and the return of Henry Goodman’s Solomon is missed for the balance and energy he provides. This is more a reflection of Arthur Miller’s original structure than the production itself, which remains faithful, but the pacing in parts of the second act feels overly extended. While the emotional stakes are clear early on, repetition slightly dulls their impact. That said, the writing remains rich and thought-provoking, particularly in its exploration of identity, ageing, and familial fracture.

Ultimately, this revival of The Price proves why Arthur Miller’s work continues to endure. It is a thoughtful, emotionally charged production that balances humour with deeply uncomfortable truths, anchored by a compelling cast and richly detailed design. While its pacing may feel deliberate at times, the payoff lies in its quiet intensity and the questions it leaves lingering long after the curtain falls. In a world still grappling with ideas of success, responsibility and family obligation, it reminds us that the true cost of our choices is rarely as simple as the price we are willing to pay.

⭐⭐⭐⭐

Catch The Price at The Marylebone theatre from now until the 7th June.

The Price at Marylebone Theatre 

Written by Emma Knott on behalf of The Theatre Flyer