The highly acclaimed, sold-out Young Vic production of Arthur Miller’s Death of a Salesman will transfer to the Piccadilly Theatre from 24 October 2019 to 4 January 2020, with a press night on 4 November 2019.
Directors Marianne Elliott and Miranda Cromwell have brought their unique vision to one of the greatest plays of the 20th century by Arthur Miller, seen through the eyes of an African American family. So what did the Mates think of this Young Vic production of the American drama classic?
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.
As part of a new series, our editor Lisa Martland picks out seven of her Top Picks from the last week of theatre (29 April-6 May 2019). Amidst her choices are two more West End productions of classic American drama: Arthur Miller’s Death of a Salesman at the Young Vic (Emily Garside) and Tennessee Williams’ Orpheus Descending at the Menier Chocolate Factory (Libby Purves).
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.
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.
David Suchet is majestically magnificent in this excellent revival of Arthur Miller’s 1968 family drama The Price.
The Young Vic’s artistic director Kwame Kwei-Armah has announced the venue’s 2019 season which includes Marianne Elliott directinf Death of a Salesman by Arthur Miller, with Wendell Pierce, Sharon D. Clarke and Arinzé Kene cast as Willy, Linda and Biff Loman.
Sarah Frankcom steps up to direct Arthur Miller’s masterpiece Death of a Salesman and the result is scorchingly brilliant production which shoots straight into the heart of a modern-day audience.
Mamet’s Glengarry Glen Ross – not a tartan bonnet in sight, it’s an All-American play set in Chicago in the 80’s – is about ruthless competition between real estate salesmen, paid largely on commission, and ready to cut any throat or corner to come top of the monthly leaderboard.
Seeing Northampton’s Royal & Derngate production almost at the end of its tour in the Yvonne Arnaud Theatre – such a lovely theatre now, clearly well cherished locally and a perfect space for a play that is intimate and epic – you have to applaud a cast whose early days must have been testing in the extreme.
Miller’s 1949 depiction of the ageing, failing salesman Willy Loman as he struggles to comes to terms with the death of his dreams – and perhaps of The American Dream itself – has only gained in stature over the years. What some regarded as a merely a Marxist- derived critique of the US way of life has come to seem as much like high tragedy as anything English-speaking theatre has produced in the last century.
The cast and creative team have been announced for Royal & Derngate’s major touring revival of Arthur Miller’s Death of a Salesman starring Tim Pigott-Smith.
Royal & Derngate’s Artistic Director James Dacre today announced details of Made in Northampton 2017. The 2017 season will include eleven brand new productions, seven world premieres, three major revivals and a site-specific collaboration with Northampton Town Football Club.
Whenever reviewers can’t readily categorise a new play they reach for a mixture of comparisons – so The Long Road South could be ‘half Far From Heaven, half Death of a Salesman’ in that it’s about a proud man who loses the job by which he defines himself, and a quietly dignified black gardener sexualized by a white woman. It’s a lazy trick we all employ, but here I think it pays tribute to the wide range of literary and historical sources which colour Paul Minx‘s careful, considered writing.
As 2015 draws to a close, here is my personal look back on the performance highlights of the last 12 months. This list is entirely subjective – and marks out the shows I have seen, that, as Sondheim’s Mary Flynn put it so eloquently in Merrily We Roll Along, ” will stay with me for a long time….”My list includes musicals, drama, cabaret and concert performances – together with an eclectic Best Of The Rest. Here’s are my favourites.
As the RSC cycle of Shakespeare’s Histories arrives at London’s Barbican Theatre, Alex Hassell appears first as Hal in Henry IV Pts 1 & 2, before maturing into the series’ Henry V. 35 years old and with enviably chiselled features, whilst not yet a household name, Hassell is commanding increasing respect. It was only last month that he achieved a podium finish as a Best Supporting Performance nominee in the 2015 UK Theatre Awards for his portrayal of Biff in the RSC’s acclaimed revival of Death Of A Salesman.
I woke up last Saturday in Africa and today I’ve woken up in New York. In between, I’ve also been back home in London, so I’ve been on three continents in the space of a week, or at any rate one huge continent and two comparatively tiny islands, namely mainland UK and Manhattan.
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