Death of a Salesman

by Arthur Miller

seen at the Duke of Yorks Theatre on 4 July 2015

The play, directed by Gregory Doran, and designed by Stephen Brimson Lewis, stars Anthony Sher as Willy Loman, Harriet Walter as Linda, Alex Hassell as Biff, Sam Marks as Happy and Guy Paul as Ben. It is an RSC transfer from Stratford.

The set mainly shows the Loman household, with bedroom and dining room adjoining (the kitchen and bathroom notionally behind), and the boys' bedroom in an attic space above. All around, the apartment blocks are represented as flat walls encroaching on the garden (as Willy several times complains); but at moments of stress they become mere frames of netting when lit from behind. Other scenes such as Willy's hotel room when travelling, the office and a restaurant, are played in front of the house space. This is an extremely effective way of visualising the claustrophobic nature of Willy's world.

Anthony Sher plays Willy as both faltering and angry. At first it might seem plausible to ascribe his confusion to a form of dementia, but gradually it is rage and anger - and complete self-deception - which come to dominate his portrayal. It is terrifyingly easy to understand how he has shaped and damaged his two sons - the idealistic Biff crushed by the discovery of Willy's marital infidelity, and the shallow Happy always the disregarded child. His wife Linda is played by Harriet Walter as a strong but submissive figure. Willy's constant put-downs during family conversations (or confrontations) seem appalling to the audience but she almost shrugs them off like buzzing insects, rather than allowing herself to feel downtrodden. This makes for a far more interesting balance in the family dynamics, and makes her final speech the culmination of her portrayal of the character, rather than a too-obvious closing threnody.

Alex Hassell and Sam Marks play the two brothers with great energy, managing the time shifts in their portrayals by contrasting the infectious energy of their late teenage years with their more troubled adult personae. Alex Hassell shows us all Biff's confusion and hurt, and the final breakdown in Willy's arms is most affecting.

With solid support from the other characters - especially the neighbouring family, and Willy's unsympathetic boss, and the fey appearances of Willy's revered older brother Ben (Guy Paul in a dapper linen suit) in Willy's troubled mind, this is a powerful interpretation of Miller's play. After the extraordinary stripped back approach of Ivo van Hove's 'A View from the Bridge' it is fascinating to see that a more straightforward production of this play can be just as impressive.