Death of a Salesman

During the last 20 minutes of Death of Salesman at the Raven Theatre on Sunday night, any quiet moment in the tale of Willy Loman’s demise revealed audible sobs from throughout the audience. At the end of the show, nearly all of us sprung to our feet at once. When is the last time live theater moved you like that?

Let me back up and be clear – I didn’t attend the opening of Salesman as a reviewer for Cheeky. I was lucky to be the guest of a friend to the Raven. That said, having experienced this production, I must do what I can to spread the word.

A brief, contemporary sequence opens this production. I won’t ruin it for you; suffice to say there’s a dab of multi-media and a “meta” treatment of the set. It works. Why a modern enhancement? Maybe to remind us of the play’s devastating significance today. Willy Loman’s story plays out all over the country these days, as unemployed baby boomers find themselves either unequipped for the job market or perceived as such. Obviously, Willy Loman had issues well beyond his technological skill set. But the gut-wrenching scene between Loman (Chuck Spencer) and his boss, Howard (Anthony Tournis) had us cringing with recognition of current events. Today, Howard’s new toy would be the latest iPhone. And Loman’s debts would be compounding daily on credit cards.

Wow. I’m not really “selling” this, am I? Trust me, it’s not all doom and gloom. Well, actually, yes it is. It’s Death of a Salesman, Arthur Miller’s opus on the curse of the American Dream. And it’s so damn good. For all of its academic problems and famous past productions, the play retains its ability to hit home. As I said to a friend at the opening night party, “I think all Americans, no matter how successful they are or how much they love their dads, have a little bit of the Biff-Willy relationship in their lives.” There was silence at the table. I tried to cover: “Please just say you agree or I’ll feel horrible.” Then I noticed my friend staring into his beverage, nodding.

But we had fun! Tears of sadness bring joy, and this production brings both – it brings truth. For that we have to thank the power-packed ensemble and production team. It wouldn’t be right for me dole out individual compliments. Remember, I came as a friend, not a reviewer. Furthermore, what makes this production leap from “competent revival” (yawn) to “powerful theatrical experience” (gasp!) is the fact that the players worked together so well. After the show, each performer we spoke with lauded the ensemble and spoke of how they bonded. Funny how a story of isolation, denial, misunderstandings and seething lies can bring people together so happily. That’s the beauty of theater, isn’t it?