The uniform structure and consistent approach eveident in these [first] four volumes make them readable and accessible to students and scholars alike and guarantee that these editions will certainly persist as invaluable tools for those who both enjoy Miller as a dramatist and study him as a significant social and American spokesperson.

The Arthur Miller Journal, fall 2010

The fascination of A View from the Bridge lies in its terrific psycho-dramatics and psycho-dynamics, its cult of the theatre of embarrassment.

Nicholas de Jongh, Evening Standard, 6.2.09

A fine play, in which Miller shows us that an emotionally inarticulate longshoreman can be a tragic hero.

Michael Billington, Guardian, 5.2.09

What lifts this play from being melodrama...is the ancient form of tragedy, the relentless twisting of the rope, the reduction of options, the closing of doors, the receeding of hope until the release of the final catharsis. And Miller's language, which is flexible and sinewy enough to shine through the slackest jaw... This is one of the handful of great American dramas. It is a brilliant and majestic play.

A.A. Gill, Sunday Times, 8.2.09

This is one of the great plays. The title alone has a strange magic. Its poise, its banality, its suggestiveness.

Lloyd Evans, Spectator, 14.2.09

In A View from the Bridge, [Miller] created one of the greatest roles in modern theatre, Eddie Carbone, a rough but decent Brooklyn longshoreman who betrays his principles because of the almost incestuous love he feels for his orphaned niece.

Charles Spencer, Daily Telegraph, 6.2.09