Despite Arthur Miller’s classic play Death of a Salesman first debuting on stage over 75 years ago, this Trafalgar Theatre and Raw Material production at The Lowry helps to demonstrate how the themes of the piece still resonate with a modern audience. This slick interpretation boasts a stellar cast, combined with effective staging, light production and set design resulted in audiences being transported to 1940s Brooklyn.
Our story focussed on the Loman family, led by patriarch Willie who is expertly portrayed by David Hayman as the titular salesman. David Hayman expertly traverses this complex role and when combined with Andy Arnold’s meticulous direction and staging, creates a seamless demonstration of a deteriorating man. The piece presents Willie as a character of duality, with David Hayman truly able to sell both sides to the audience, which was a pleasure to witness.
Each performance from the rest of the central nuclear family stands strongly with David Hayman’s tour de force, from Beth Marshall’s doting wife Linda, Daniel Cahill’s troubled eldest son Biff or Michael Wallace’s misguided younger son Happy. Daniel Cahill is particular captivating, his ability to switch Biff’s demeanour between the flashback scenes set in his victorious high-school days verses his bleaker modern days created a layered performance. I especially appreciated his character work around the varying relationships with each member of his family, implying their years of shared history and how that has impacted Biff to be the person that he is today.
Michael Wallace was able to bring some comedic relief to the play, following in Willie’s ethos of ‘fake it till you make it’ in an effort to win the approval of his Father. Scenes shared between the two brothers were a continuous highlight. Beth Marshall quickly grows sympathy from the audience, which again builds throughout the play to give a satisfying pay off in the final scene.
With the characters back in the family home for the first time in years, Neil Haynes’ simplistic set design helps to emphasise the feeling of claustrophobia in the Loman’s ageing Brooklyn apartment. This is further exaggerated by the entire cast sitting side of stage and watching the action as it unfolds, even providing musical accompaniment from a trio of actor-musicians. In addition, adding to the duality of the story, a beautiful oak tree backdrop commands the back of the stage and Rory Beaton’s lighting brings this to life in flashback scenes, a sign of brighter days. Light plays an important role in the climax of the play, with Rory Beaton smartly using attention-grabbing techniques to signify a key event.
Where this production really soars if Andy Arnold’s direction, masterfully moving between key periods in Willie’s story whilst also creating an authentic view of a man who is losing his mind. Every decision is made precisely, meaning Willie’s confusion is demonstrated through overlapping conversations and out of place characters. This direction allows the play to keep pace, whilst inviting the audience to experience Willie’s confused mind.
A stellar adaptation that brings to life the key themes of family, living up to expectations and feeding into capitalism. All still relevant to an audience today, resulting in a powerful production all round.
Reviewer: Harry Alty
Reviewed: 29th April 2025
North West End UK Rating: