Directed by Marianne (actual genius) Elliott and Miranda Cromwell and featuring an African American Loman family, this Death of a Salesman is the clearest, most moving and profound vision of this play I’ve ever seen.
All My Sons may not be my favourite Arthur Miller play but The Old Vic’s production of it is undeniably brilliant, especially the heavyweight and stunningly good cast.
This production of Death of a Salesman will become the stuff of legend, hopefully setting a precedent for future ‘classic’ revivals.
For anyone who has been under a rock for the last couple of years in London theatre, this stripping back to the essence of a classic is one of Marianne Elliott’s (many) talents. And here with Death of a Salesman, with co-director Miranda Cromwell, the play is written again from the ground up. Without changing a word.
For Death of a Salesman, one of Arthur Miller’s greatest plays about the hollowness of the American Dream, Marianne Elliott and Miranda Cromwell and their cast make it an impressive, even dynamic evening that lacks some subtleties but is never less than gripping.
We round up the reviews for the Young Vic’s production of Arthur Miller’s classic play Death of a Salesman.
It’s Marianne Elliott’s impressionistic approach that yields considerable insight into the themes of Death of a Salesman, the characters’ attachment to material possessions as indicators of success, and most especially to the physical home that contains their family history, which they have spent decades slowly paying-off.
Love London Love Culture rounds up the reviews for Jeremy Herrin’s production of All My Sons starring Bill Pullman and Sally Field.
The hallmark of a ‘great play’ is its universality, and historically Arthur Miller’s 1947 All My Sons is a ‘great play’ but it’s debatable whether, in trying to adhere that greatness to contemporary realities, Jeremy Herrin’s is a great production.
All My Sons is a gripping play, a slowly unravelling emotional thriller with masterclass performances.