‘Death of a Salesman’ review
‘All elements of a stunning production come together to make this an ideal experience and anyone, regardless of who has read the book, should come and watch’
12 South Theatre Company brings the quintessential tragedy of the American Dream to Durham. In Death of a Salesman, the Loman family struggle to maintain their position among the middle class; intensely emotional scenes of their breakdown follow. Excellent acting and directorial performances carry this production with Catrin Morgan directing, assisted by Becca Morran, and James Egerton serving as Producer. Here, the immortal script is brought to life with all its deserved emotional impact. As a result, being aware of the inevitable ending and seeing it play out is an incredible experience, and this production makes it well worth the watch.
Arthur Miller’s classic play draws tragedy out of common experience. Following the life of Willy Loman and his family as he hurtles towards his death, Death of a Salesman is a play where sad circumstances are hidden by illusion. Miller dramatises self-destructive behaviour through constant examination of tense personal relations. Through this, Willy moves from reality to delusion in a portrayal meant to garner sympathy and disgust.
The fantastic cast adeptly convey deep familial tensions. Oli Butler expertly delivers on his role as Willy Loman. Performing an inherently performative character requires a strong physical presence which constantly shifts between moods: Butler’s physicality and multifaceted delivery exemplify this. The Willy who loses himself in delusion feels just as real as the salesman filled with false bravado. This makes for a performance which delves deep psychologically, and it’s a real thrill to watch develop. Caleb Ross as Biff dominates the stage during moments of father-son tension. Each character expresses their hatred of the other in quiet condemnation or through shouting matches, both of which feel raw with the power to captivate. Meanwhile, Henry Smith’s Happy succeeds as an entertaining parody of the quick-witted businessman mindset, yet the tragic context unsettles this.
As Linda, Rhiannon Morgan’s moving performance steers our sympathy towards her, and occasionally towards Willy. In contrast, Eva Tozzi’s role as the unnamed woman presents with convincing flirtation and perfectly contributes to an engrossing confrontation. In a play filled with convincing American accents, Henry Hudson - as Charlie and Howard - may be the most authentic with his self-controlled vocal tone. Furthermore, Gabe Cardy-Brown - as Stanley and Bernard - performs effectively with lighter roles in an otherwise bleak play. In particular, his portrayal of Bernard transitions from well-executed slapstick, with stuttering and anxious physicality, to an adult who is strong, yet convincingly modest. Freya McIntyre and Sophie Browning are confident and playful in their roles, making for ideal dialogue exchanges between them and Smith’s Happy throughout the play.
Stage composition immerses the audience in a family drama set within mid-twentieth century America. Set Designer Kai Doak clearly succeeds in making the multi-layered stage feel tensely claustrophobic, with realistic furniture and design enhancing the mood. Thanks to intelligent staging from Carina Upton Sandlund, assisted by Martha Wardle, this set heightens the familial drama while making clear the family’s symbolic mundanity.
Zac Smith’s flute playing sets a powerful solemn tone. His role in the start and at key moments throughout is a welcome addition; combined with immersive sound design by George Jones, scenes of mundane reality transition seamlessly into moments of either tragedy or hallucination. When playing Ben, Tom Castle’s ghostly presence is enhanced by these special effects. The lighting is especially powerful during surreal episodes where memory and delusion intrude - a feature originating from Lighting Designer Leyla Aysan and Lighting Operator Cassia Thurston.
Death of a Salesman makes you feel the essence of tragedy. A mix of pity and disgust is the natural response to a journey which resonates from deeply effective characterisation. All elements of a stunning production come together to make this an ideal experience and anyone, regardless of who has read the book, should come and watch.
By Ivan Deverick.