Death of a Salesman Comes Alive

For a play that was first performed over 60 years ago, it’s remarkable how much relevance it still holds. Arther Miller’s famous Death of a Salesman filled the Quarry Theatre at the West Yorkshire Playhouse with all the tension audiences throughout the decades have loved it for last night.

It’s easy to see why Salesman was voted the second most important play of the 20th century in a National Theatre Poll (Waiting for Godot just pipped it to the post). Everyone knows this story and these characters in some form. Willy Loman, a salesman who’s worked for the same company for over 35 years, is tired and desperately trying to maintain a public facade of being great at his job, respected by many. From the outset we see his mental state deteriorating and come to understand that the dream he hasn’t been able to fulfill himself, he’s been trying to push on his two sons for years.

Many people recognise Willy Loman as a man in their life; father, uncle, grandfather and the relationship dynamic he has with his sons could be one you see between your own brother and father. Does Loman have unrealistic expectations for his sons or are they the genuine hopes and dreams of any parent?

His son Biff, a promising football player in his youth, has spent his adult years drifting from job to job with no real drive. Towards the end of the play, he blames his father for filling him with delusions of grandeur, that he would be one of the football greats, leading to him never wanting to take orders from anyone or being able to hold a steady job. Younger son, Hap has basically lied his way through life to appease his father.

This play is a close up look at the average all-American family. Loman has been deceiving not only his family, but himself. He probably never was the high-flying salesman he paints himself to be. There are endearing moments where we see him playing with his younger sons during a flashback, then moments where he is unbearable and unlikeable, particularly in the way he hardly ever lets his wife finish a sentence.

Loman is played in this production by Phillip Jackson, recognisable from television series Midsomer Murders and Poiret among others. Jackson has such a powerful physical presence and plays Loman with a barely restrained tension. He captured this tragic figure beaten up by the American Dream perfectly. Lex Shrapnel, who played Biff, put in a remarkable performance. The scenes he and Jackson played together were particularly powerful. There were moments where it felt like the audience held its breath.

Marion Bailey playing Linda the wife/mother and Nick Barber as the sleazy son Hap were also impressive. The four central characters together played the family dynamic very well. Bailey’s performance as the  doting wife and mother wanting the best for everyone made you just want to run up on stage and give her a hug. Barber’s smooth talking, Hap was by measure infuriating and charming.

One slight niggling point would be the accents. Some did better than others at maintaining the American drawl throughout, but the moments where it was lost didn’t detract from what was going on, thanks to Miller’s fantastic script.

The set, which Miller had wanted to be stark so scene changes didn’t hold up the play, was fantastic. It remained the same until the final scene where it changed so dramatically, and with complete ease, it gave the ending particular poignancy.

At the Playhouse until the end of the month, this is a great chance to see one of theatre’s greatest plays performed by a truly wonderful cast. Definitely highly recommended.