DEATH OF A SALESMAN by Arthur Miller
DEATH OF A SALESMAN by Arthur Miller, directed by Sheri Lee Miller. G.K. Hardt Theatre,
DANIEL BENZALI PUTS HIS STAMP ON DEATH OF A SALESMAN (Benzali as Willy Loman. Photo byEric Chazankin)
The Pulitzer Prize winning play, “Death of a Salesman”, became an instant American classic when it first appear on the stage in 1949 with Lee J. Cobb turning in a spectacular performance as Willy Loman the salesman who lived on a “smile and a shoeshine.” Frederic March (1951) added his touch to the role garnering an Oscar nomination in the black and white movie. Since that time, the much sought after role has attracted such luminaries as George C. Scott (1975), Dustin Hoffman (1984) and Brian Dennehy in 1999. In this
The play is non-linear with the present action occupying only 24 hours in the contentious lives of the Loman family leading to the dramatic conclusion signified by the title. The play can be considered a memory play since segments of the action take place in Willy’s mind with imaginary conversations with dead brother Uncle Ben ("When I was seventeen, I walked into the jungle. And by twenty-one, I walked out. And by God, I was rich!"). Author Miller’s stage directions ask for specific set constructions and scenic designer David Lear has complied. The multi-area, multilevel design takes up the entire stage with no solid walls allowing effective light design by John Connole as the story moves flawless between reality and fantasy and between shifts in time. Miller decries the use of the word “flashbacks” insisting they are "mobile concurrences."
Reams of text are written about the many levels of meaning within the play starting with the elusive American Dream that Willy is pursuing. For Willy the pursuit of monetary gain is less important than being liked. He sanctifies the business of salesmanship and he wishes to emulate a highly successful, respected acquaintance "He died the death of a salesman, in his green velvet slippers..." His desire for his sons is dashed when athletic Biff inexplicably gives up and travels west in search of space and Happy is content with the world of women. Willy returns from a trip completely broken in spirit only to confront Biff who has returned. The consequences of the father son confrontation are the catalyst that allows Miller to weave his tale that is well known and needs no repeating.
Director Sheri Lee Miller is also fortunate to have Time Kniffin and Michael Navarra, two excellent Equity actors, for the roles of Biff and Happy Loman to support Benzali. Tori Truss in a pivotal role of the long-suffering wife and mother Linda, gives an only creditable performance but does not do credit to some of the famous lines. Mark Bradbury is excellent in the role Bernard, both as a youth and as an adult. Gina Rose Tiso is perfect as The Woman and the rest of cast do a serviceable job. The accolades belong to the powerful acting of Benzali with dramatic shifts of personality from gleeful elation to self pity to domineering head of the household and to ranting at the world.
CAST: Starring Daniel Benzali * of
Courtesy of TheatreWorld Internet Magazine.