Arthur Miller’s DEATH OF A SALESMAN is regarded as one of the greatest achievements in American theater. When it premiered in 1949, it won the Pulitzer Prize for Drama and six Tony Awards, including Best Play. It’s been revived five times on Broadway — winning Best Revival Tonys three times — and adapted for the screen ten times. If “The Great Gatsby” is the Great American Novel, DEATH OF A SALESMAN is the Great American Play.
That said, while “Gatsby” runs briskly at around 200 pages, this two-act tragedy is overstuffed with both characters and scenes, muting its power and its take on the American Dream. Willy Loman (Joe Cortese) is an aging sad-sack salesman, struggling both financially and with his place in the world. Delusional, he lives in a shabby Brooklyn home with his wife, Linda (Frances Fisher), and their two sons: 34-year-old Biff (Cronin Cullen), a high school athletic hero who has flailed ever since, and younger brother Happy (Robert Smythe), who strives to life up to Biff’s previous reputation, clamoring for his parents’ approval. Willy isn’t just grappling with where his life ended up but also with where it appears his sons’ — his legacy — appear to be headed, leading him to consider some desperate measures.
We can all relate to the contrast in where we intended to end up and where we are. But the energy is low in this production, making the length of the script tedious. That said, the comedic moments — intended as a respite from the relentless futility of the Lomans’ world — fail to land, resounding as dissonance versus punctuation. Tighter direction from Mark Blanchard would have helped as it plays broad at points when it should be intimate, subtle. The lengthy script should move with electricity even when treading in despondent, existential territory.
Cortese as Willy is weathered, beaten down, giving a lived-in performance of quiet desperation. Fisher is best used when delivering a blistering reproach to her sons and when plumbing new notes of despair. Smythe has such an open-faced, youthful exuberance, he practically shines. Cullen is a good sparring partner for Willy as they both struggle to figure out who they want to be and who they actually are. However, it seemed the actors sometimes didn’t know what to do with themselves. For example, Biff and Happy are always affectionately poking, prodding, punching each other, which is intended to be playful, but it appeared it was because they didn’t know what to do with their hands, leading to distraction.
and Cronin Cullen
There are sound problems that plagued the production, as well. It seemed only some of the actors were miked, making it difficult to make out some of the dialogue. Additionally, the microphones added an illogical echo, which was intrusive. The costumes by Vicki Conrad were of beautiful quality while still representing the dingy life of the Lomans. Fritz Davis’ video projection was crisp and precise, expanding the family’s modest world.
The themes in DEATH OF A SALESMAN are universal and timeless, though that doesn’t mean they always resonate. Firmer direction and better sound would have elevated this production so that it landed with more heft.
Photo credit: Billy W. Bennight II
DEATH OF A SALESMAN is performed at the Colony Theatre, 555 N. Third Street in Burbank, through January 26. Tickets are available at www.onstage411.com/salesman.
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