There’s a scene in Arthur Miller’s “The Price” in which the exasperated wife of a New York city policeman turns to him and says, “It is like we were never about anything; we were always about to be!” There you have the crux of Miller’s two-act, two-hour portrait of a husband, his wife and his brother, caught up in in a classic, emotionally triggering family situation, which forces them to finally face the life choices they’ve made.