Death of a Salesman

It would be safe to assume that a 1949 Broadway show that centralised around 20th century capitalist America and its catastrophic effects on the economy, post-war life and mental health, would not be relevant almost 75 years later. But Arthur Miller’s stage play, universally renowned as one of the best plays of the 20th century, is still thriving and selling out the world’s best theatres – and with the world’s current housing, inflation and economic crisis’, Death of a Salesman feels more relevant than ever.

Willy (an outstanding Anthony LaPaglia in his Australian theatre debut) is a middle-aged salesman who is starting to come apart at the seams, both professionally and mentally. Willy is a man on the road, his job his whole identity, success and his longing for the American Dream all that drives him. After his failing mental health starts to derail his ambitions, it begins to take on a toll on him and his adoring family around him.

Arthur Miller was always vocal about the marriage between Salesman and the quintessential Greek tragedy, and meeting Willy already on his decline into senility supports this. Willy’s booming presence and gravitas are evident from the first act, but we are acutely aware that he is a man no longer on top. This is a man worn out, beaten down, his best years behind him despite them not getting him where he strives to be. His two sons Happy (Sean Keenan) and Biff (Josh Helman) return home to join him and their devoted mother Linda (Alison Whyte). With the whole family unit under one roof, Willy’s deterioration becomes clearer and the family are faced with the reality of not only losing their patriarch, but also facing the harsh realities that the American Dream is unattainable and their fears of failure are now becoming a reality.

Filling the shoes of Willy Loman is no easy feat. Willy is a character that is already peeling apart in the play’s opening moments. He is a blend of stoicism and anger that descends into vulnerability, depression and further anger as his mind spirals. With 75 years behind it, there is an immediate pressure applied to the actor lucky enough to be cast in the role – and with this being Anthony LaPaglia’s first Australian stage production, no doubt those weights felt even heavier on his shoulders. Thankfully, much to the relief of Miller fans and to LaPaglia himself I’m sure, he is remarkable in Death of a Salesman. Everything from his gravelly tones, his middle-aged shuffles, and his swinging from boisterous outbursts to moments of mumbling gibberish, LaPaglia channels the ghosts of Lomans past, while breathing a new life into his death.

Whyte is also captivating in every scene she embodies, sometimes swinging the spotlight back as quickly as the pendulum swings in Willy’s mind, and several of her monologues will leave you breathless. Keenan and Helman are equally as compelling as their two sons struggling to find their paths in life in post-war capitalist America. Director Neil Armfield brings out only the best in his actors; and Set Designer Dale Ferguson works wonders in creating a space that effectively divide Willy’s reality and delusions.

Death of a Salesman is a long slog, sitting at a 3.5 hour runtime with a 20 minute interval. But it is worth every minute to see only Australia’s best bring one of the greatest plays ever written to life. It runs until October 15th at Her Majesty’s Theatre.

Death of a Salesman
September 1 – October 15
Her Majesty’s Theatre – 219 Exhibition St, Melbourne