ongoing Sun. Feb – 7

I met Arthur Miller once. It was at an A.R.T. party with a lot of other theater world notables. I was covering the event for the Globe, writing what was then called "Names & Faces." (Now that it has more faces on the page, it’s been renamed "Names.") When I was introduced to Miller, my head was spinning with possible things to say/ask. I mean, Lord … As it turned out, I probably mumbled something along the lines of "pleased to meet you, it’s an honor." Which was certainly better than I might have blurted out: "You were married to Marilyn Monroe! What was that like?"

If I’d asked about theatre, he might have responded, "The production of a new play, I have often thought, is like another chance in life, a chance to emerge cleansed of ones imperfections." He did say that to someone, once.

This is recalled because Miller’s "All My Sons" - it ran for 328 shows on Broadway when it opened and won a Tony - is up at the Huntington Theatre through Sun. Feb. 7 and it remains, under the direction of David Esbjornson, one of the most emotionally wrenching and powerful plays you’d care to see.

The fact that it’s set just after World War II – Miller wrote it when he was 32 – does not date it in the slightest. Sure, the particulars come from another time and place. But the issues, the central conflicts and dilemmas? Timeless. As the US is involved in two wars at the moment – well, it is a never-ending war isn’t it, stretching back to the one in this play? The father, Joe Keller (the superb Will Lyman), is a flawed businessman who may or may not have made warplane engine parts that were destined to fail – and kill 21 US airmen. He and his family have done quite well, post-war. He was exonerated in a trial when news of the faulty parts came to light. His partner was not so lucky – the jury believed he inspected the parts, knew them to be sub-par, covered up the flaws with cosmetic trickery, and shipped them out anyway. And that Joe had no part in this. He was sick with the flue, at home. Perhaps. We shall see as the play develops.

As it happens, the Kellers oldest son Larry, an airman, went missing in the War, and is presumed dead by everybody except his mother Kate (played by the as-always magnificent Karen MacDonald, a founding member of the A.R.T.) Larry went down not because of the business’s bad parts, but still … Larry was in love with Ann (Diane Davis), who has since fallen in love with the Kellers’ younger son, Chris (Lee Aaron Rosen), who’s also served in the War. It so happens Ann is the daughter of Joe Keller’s convicted ex-partner, Steve Deever. You sense this situation is going to get just a little sticky.

Ann has moved away from their Midwestern town, to New York, but returns back to the Kellers when a letter from Chris suggests perhaps they may have a future together. He hasn’t been very good at expressing himself, but they love each other; and they both believe Larry, God love him, is gone. There is conflict everywhere and as the play unfolds, your affection (and disdain) for the various characters comes and goes. Joe seems pretty jovial and down-to-earth, especially for a rich businessman. He plays with the neighbor’s kid. He wants to take his wife out dancing. He knows he’s provided a good life for his family and isn’t that what a husband and father does? He even forgives his ex-partner, Deever, for his crimes, and when he’s out of jail, says he’ll welcome him back to the business – not as partner, of course, but with a job. That’d be nice, right? Win-win for all? Maybe not.

It’s no surprise that there are surprises in store for everybody here. The play is about complicity, guilt, striving for the American dream ($) at all costs, the importance of family vs. the security of the country, how people cope with major upheaval, how they cling desperately to what they want to believe. This is a tough hard-edged play, with violence or confrontation always a whiff away, and there’s not a dull moment in this production. Even the more minor characters, such as a cuckolded doctor, Dr, Bayliss (Ken Cheeseman), have battles to fight – and when they’re part of the mix, you’re thrust as much into their world as you are the Kellers.

I loved the start, an Esbjornson touch, with a large screen projection of black-and-white bombing scenes and the sound of buzzing airplanes over the Kellers’ yard, intercut with a clip of the Andrews Sisters singing that quintessential period song, "Don’t Sit Under the Apple Tree With Anyone Else But Me." Something quickly happens to the apple tree on the Kellers’ lawn, a tree that has some symbolic importance.

As it concludes, some issues are resolved and some are left hanging. You’ll exit the theatre with a lot on your mind, and maybe a taut smile on your face. A brilliant play, brilliant acting, brilliant direction. What more could you want from a night at theater?

It’s up Tues-Thurs at 7:30, Sat at 2 and 8, Sundays at 2 and sometimes 7. Check website below for particulars. Tickets: $82.50-$20.

264 Huntington Ave., 617-266-0800 www.huntingtontheatre.org