BWW Reviews: Paying Tribute to the DEATH OF A SALESMAN

Colorful buildings cascade down the walls of the Evjue Stage at the Bartell Theatre. When the lights are dim they appear to slowly fade into the darkness. It is only when the lights are fully illuminating the playing space that the images are melting into nothingness. Backgrounds become distorted until the lights dim once more. It is the darkness that creates a safe, familiar space in the world of the Loman family.

Three years following the end of World War II, one of the great American playwrights penned a show that would set him on the course for greatness. Arthur Miller created Willy Loman, his family, his friends, and his spiral into reality. A grim look at post-war life in America, Miller ripped the American Dream off of its pedestal to show the world that blind ambition does not automatically culminate into success. Despite what the climbing economy would argue in the latter half of the 1940's, Miller's work dictates that the gained material wealth does not make the man - his actions do.

Death of a Salesman is the testament Willy Loman who will not accept his role in the world. Ignoring the emotional needs of his family, Willy is misguided into believing that the people in his life only value the dollar sign attached to his suit coat. When Willy's son Biff longs for acceptance from his father, to exist in the world away from the materialism, he is rebuked. Strung into a line of dream sequences and present moments, Willy is lost in the space of his own making. His life has become a façade. Without accepting the truth that his loved ones are attempting to provide, Willy is doomed because of his own pride.

In the current production by Strollers Theatre, Coleman has been cast as the head of the Loman household.

Coleman's agonizing portrayal of Willy is poignant. Sliding in and out of the dimensions of his own reality is what makes this particular role challenging, but Coleman meets the task gracefully. His dedication to the role is evident for one main reason: he gives the audience no clear bounds for judgment. The actor playing Willy should never be after an ultimate reaction from his onlookers. By giving the character that breadth to be loved or hated by the spectators, Coleman (as well as direction given by Christopher William Wolter) allows each person to leave the theatre with their own understanding of what the play means.

While Coleman wanders through the muddled perceptions of Willy, his family remains in the grim reality of his

spiral. Jordan Peterson, for example, is lovable as Biff. His youth and good nature radiates to his cast members - Peterson has an undeniable chemistry with each person he encounters in the space. His brother Happy, played by a wonderfully pompous Josh Paffel, does his best to keep the peace even though he is constantly brushed aside by Willy. All the while Linda Loman, who is captured by the soft spoken Jamie England, remains steadfast by her husband's side.

Christopher Purdy too, as both Willy's brother as well as his boss, lingers from time to time around the playing space. Purdy's strong presence in both roles quickly envelopes the attention of the audience.

As any good dream sequence should be, the show was choreographed down to the smallest scene change. However, despite the length of the show, cast members should be careful not to rush too quickly through the motions. There is a beauty in a change of scenery, particularly when Willy is still visibly on stage struggling to find his truth. Fluidity in these changes could tighten up the show and stop the audience from being pulled out of the moment.

Just as in anything else, every moment on stage is a moment - even if the lights have dimmed.

As yet another theatrical season comes to a close; Strollers Theatre is drawing the curtain with a nearly 70 year old production that still rings true today. Keep that in mind because, "this is not another damn fool appointment."

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