Death of a Salesman

This is an astonishing production of a canonical text that rises to all the challenges presented by such an important play. The artistic and aesthetic choices are all designed to allow an interpretation that preserves the historical and universal elements of this story. The result is a detailed, refined and nuanced production that immerses the audience deeply into this poignant universe.

The cast provides outstanding performances that are full of pathos, each one beautifully capturing all the complex dimensions of their character. Paul English is exceptional as Willy Loman; his portrayal of the volatile and frequently heartbreaking emotions that Willy experiences are conveyed with enormous compassion. The portrayal of Willy's mental and physical decline is also visibly moving. Willy’s ambivalence towards his son Biff (Charlie Cousins) is especially well defined by English. This relationship is often the key to understanding what underpins the damaged family dynamics and this allows the nature of all the other relationships to be explained with enormous clarity.

Biff is clearly put forward as the only character with a real grip on reality and this highlights the delusion or denial which drives the other family members. His journey is conducted in a gradual and measured manner and Cousins takes the audience on this difficult and sometimes tortuous path with expertise. Happy's (Ross Dwyer) optimism is well contrasted with Biff’s more defeatist outlook, but this is never presented as superficial or flippant. Margot Knight finds an incredibly fine balance between Linda’s contrasting positions of victimisation and empowerment. Knight is able to articulate Linda’s influence in this very male dominated space with a demeanour which is characterised by warmth and restraint. All the performances are so well integrated that they fall perfectly into place.

The production also excels on a range of other levels. The approach to the set design is minimalist but faithfully reproduces the modest family home and the way it fuels the flawed family exchanges. The use of cardboard boxes and autumn leaves combined with the exposed brickwork of the venue immediately evokes the sense of decline and decay which haunts this story. The effort to make direct reference to specific elements in the text is a touching tribute to the author. The ingenious use of the alley way as a background opens up the performance area while simultaneously preserving the claustrophobic space in which the family is trapped on centre stage. This is combined with clever and moody lighting and sound effects, which contribute to a perfect delineation of the different psychological spheres and historical time references.

The directorial vision is evenly applied across all the performances where gestures and body language are accentuated at just the right moments and land just on the right words. The supporting roles are all woven into the troubled family politics in a delicate and tender manner. The traditional approach to the play results in a purity that highlights the important universal aspects of this story. The way the nuclear family unit is implicated in the gnawing acquisition of guilt, the fierce competitiveness of capitalist principles and the corrosive nature of materialistic values are among the themes addressed in this play. Such themes are all beautifully and profoundly revisited in this production. 

Patricia Di Risio

Photographer: Ben Andrews