JADAR

★★★★☆

Death of a Salesman is the long revered tragedy representative of a generation, written by the great Arthur Miller. The two-act play follows protagonist Willy Loman, successful businessman and father, through a 24 hour period. This production was put on by Trafalgar Theatre, directed by Andy Arndol, and stars David Hayman. The reason for its great success lies in its mundanity, the tragedy of the common man explored through the theatrical, but does this timeless tale maintain its universality?

If you are unfamiliar with Death of a Salesman (spoilers ahead), it follows Willy Loman through an intense Manic-Depressive episode leading to his suicide at the end of Act II. The play critiques the functionality of the American Dream, exposes the dark side of capitalism and, most importantly, holds a mirror up to its audiences.

There were two distinct time periods within this production, the present and the past, distinguished majorly by the design team. Willy is transported between these time periods due to his psychosis, mixing his past and present together. The design of this piece was dark and brooding, with 14 empty chairs, two window frames and a wooden paneled wall filling the stage. There was a beautifully painted backdrop that bled naturalism onto the stage with a large overgrown tree.

Set in Brooklyn, the Loman family seemed to have been misplaced with this natural background, feeling as if they lived along the American countryside. When Willy Loman began to replay moments from his past, the set would transform into a sun-soaked memory with a water-coloured backdrop, as if plucked out of a Franco-impressionist painting. Neil Haynes, set designer, captured the mindscape excellently through his ability to create an oversaturated memory.

There were three live musicians on stage who interacted with the setting and space every so often. The piece felt modern and yet naturalist, with persuasive acting and striking visuals to guide the story. Niroshini Thambar composed a soundtrack that simultaneously showcased melodies of the 1940s American South and Scottish modern theatre while also transporting audiences in and out of a dreamscape. The brilliance in Andy Arnold’s production lies in the clarity of a theatrical piece.

David Hayman played Willy Loman in an extremely impressive performance, jumping between emotions, working through a physical piece and maintaining audience attention throughout. Beth Marshall (Linda Loman), played a loving housewife and mother. Her portrayal of this character and grasp on emotions was beyond impressive. Daniel Cahill played Biff Loman and Michael Wallace played Happy Loman, both gave truly devastating performances as they battled their perception of their family throughout the show. Wallace and Cahill utilised one another’s energies perfectly, showcasing the two sides of American capitalism–an overjoyous reaction to a system that works for you and a soul struggling to find meaning in the system. The acting was strong and incredibly natural. Additionally, I felt like this was one of the few shows I have seen in the United Kingdom that nailed the era-accurate American accent.

Another element I was impressed by was the allusion to Charon, the ferryman, as a symbol different to Christianity. This allusion to Greek folktale felt like it complimented the piece well.

This production of Death of a Salesman did not explore the likeability of Willy prior to tension, visible from the second he stepped on stage, making the reveal of his commonness less effective. He claims that being well-liked is everything to a salesman, but did not allow audiences to like him or root for him. He berated his wife and children in the present which made his softness in the past seem distant. There was little emphasis on his exploration of the American dream, how he hoped to explore, and what he hoped to do. There was no bridge between his dreams and the audience’s.

The cast sat on stage, watching from wooden chairs. I felt like this might work better with a more intimate space but enjoyed the symbolism of these people acting as voyeurs to Willy’s memories. The abrupt movement of these performers took away from some moments, the only reason they left the stage was to change costumes. I felt a development in their intent to move was needed.

The script critiques the corruption of capitalism management. What might have elevated this theme would be a critique on consumerism. There were small moments where Happy and Biff’s consumption of alcohol played the role of American gluttony but I wanted to see further exploration of these themes through the use of props.

The piece largely focuses on the haunting affair that Willy has, showcasing how lives can be changed through a single event, the lack of resilience equal to the American economy and fears post war. However, why is this necessary now? If the piece is set to explore the men’s mental health epidemic, I felt like there was little driving force. One cannot tackle the male mental health crisis without addressing equal gender rights, like how one cannot tackle the American poverty issue without addressing racism. The piece does neither of these things. It felt like there was one part of the puzzle missing to relate it to modern day.

Cuts to the script’s sexist content would have benefitted this piece, drawing the piece into a modern-day setting. The production quality was through the roof but there was a lingering sense of confusion after I saw the production, questioning the relevance to the world we live in today. Shortly following the 1949 Broadway debut,

Arthur Miller published ‘Tragedy and the Common Man’ in the New York Times where he claims that the lack of tragedy is due to a scarcity of common heroes. He urged individuals to look away from the tragedy of kings and instead into “the heart and spirit of the average man.” This is what made this play revolutionary. Its mundane nature, the fact that this tragic fate could bestow any of us, “a small man can be as exhausted as a great man.”

Death of a Salesman is an exceptional piece of theatre that reflects the anxieties of the working class, that tragedy is the consequence of man trying to prove his place within his society. Elevations to this production would be a further critique on the impact of race and a distinctive critique on the role gender plays in modern day. There is a fear in normality that distracts us from connection, a desire for greatness that takes us away from the present. I believe there is a certain timelessness in this production but feel like a deeper exploration of the troubles facing the working class is needed. 

Death of a Salesman is an exceptional piece of theatre that reflects the anxieties of the working class, that tragedy is the consequence of man trying to prove his place within his society. Elevations to this production would be a further critique on the impact of race and a distinctive critique on the role gender plays in modern day. There is a fear in normality that distracts us from connection, a desire for greatness that takes us away from the present. I believe there is a certain timelessness in this production but feel like a deeper exploration of the troubles facing the working class is needed. 

Death of a Salesman runs at Lowry (Lyric Theatre) until May 3 – the final stop of its UK tour.

Photo: (c) Tommy Ga Ken-Wan