Death of a Salesman

Published Thursday 19 May 2005 at 11:55 by Peter Hepple

We have long been accustomed to regarding Death of a Salesman as being one of the great American plays. But Robert Falls’ production, with its revolve, screens and many scenes, lifts it up to something approaching King Lear.

Whether this is altogether fitting is a matter of taste. Previous productions have in a sense emphasised its domesticity and sometimes its Jewishness. Willy Loman is, after all, an essentially Jewish character, worn out by years on the road as a salesman, disappointed by his feckless sons, fearful of his future in a country which in the forties was not strong on welfare.

Brian Dennehy, on the other hand, is a great hulk of an Irish-American, in his own eyes a king of the road, though ready to seek the solace of slowing down, which is denied to him by a heartless boss. But his impressive build, flashes of anger and stubborn ways combine to give this production a truly classical quality.

He considers himself majestic, even if others don’t, and his sons are more than just disappointing, they are traitors to his ambitions for them. Dennehy’s is a truly towering portrayal, emphasising the pain, the anger, the helplessness as Willy Loman hurtles towards an undeserved death.

It would be nothing, however, without the assistance of a company which understands the concept. Clare Higgins, feeling all of Willy’s misery, gives a wondrous performance as his wife Linda, supportive but content with her lot, having expected nothing else. Douglas Henshall and Mark Bazeley, as Biff and Happy, one a wheeler and dealer who does not have the intelligence to skate on thin ice, the other a serial womaniser, are equally impressive and there are one or two other Americans in the cast who lend authenticity to a play which is essentially of its country of origin and the time in which it was written yet still has a striking resonance.

But Falls and his production team, including designer Mark Wendland, are certainly due their share of the success of this outstanding version of Arthur Miller’s great play.