Award-Winning Cast Shines in "Death of a Salesman" Revival on Broadway

Photo by Joan Marcus.

The opinions reflected in this OpEd are those of the author and do not necessarily reflect the opinions of staff, faculty and students of The King's College.

“Attention must be paid” to the latest Broadway revival at the Hudson Theatre on 44th Street. While still in previews, Arthur Miller’s “Death of a Salesman” is a profoundly moving story about the value of life. One of the most anticipated revivals this fall, this new production lives up to the high expectations.

Originally staged on Broadway in 1949, Miller’s powerful story wrestles with the American Dream and one man’s inability to live out that dream for himself and his family. A new interpretation of the script directed by Miranda Cromwell (her Broadway directing debut), depicts, for the first time on Broadway, the titular character and his family as African-Americans. Within the setting of mid-century New York City, there is an added layer of complexity in the social and professional lives of the protagonists in this brilliant addition to a timeless story.

The award-winning cast of this production is a triumph led by Oliver Award nominee Wendell Pierce (Jack Ryan, The Wire) and Tony Award nominee Sharon D Clarke (Caroline or Change, Chicago, The Lion King) as the husband and wife duo of Willy and Linda Loman. Pierce and Clarke both give captivating renditions of their iconic characters, but the two greatest performances are from Khris Davis and Tony-Winner Andre de Shields. Davis’s emotionally honest portrayal of a son torn between pleasing his father and pursuing his own dream is heartbreaking to watch. In his return to Broadway, Hadestown alum Shields sparkles—he literally sparkles on stage—as Ben Loman, the mysterious brother and uncle who fades in and out of the lives of our protagonists. Shields's unsettling, slow movements across the stage—and throughout the orchestra seating—gives his performance a ghost-like quality that lends itself perfectly to the narrative.

The production, transferred from London’s West End, uses a minimalist set designed by Anna Fleischle, to direct all of the audience’s focus to the actors on stage. But scene changes, particularly time jumps in the a-linear plot, are at times confusing. Additionally, the set’s layout leaves a portion of the stage out of view for the left wing of the audience. However, once you are able to master the logic of the set, it becomes hard to imagine how to improve it. 

“Death of a Salesman” stage and playbill. Photo by Eli Johnson

For most of the show, Jen Schriever’s lighting design effectively assists the storytelling, with the exception of several moments where the soft whites and grays are replaced by bright hues of purple, blue and teal for no apparent reason.

Death of a Salesman officially opens next month on Oct. 9. Even though the show runs over three hours long with only one intermission, it largely avoids feeling either rushed or too slow-paced.

Miller’s play is no less relevant now than it was when it first premiered—exhibiting themes of family, success, dreams and the value of life, it is worth watching come alive on stage.

Death of a Salesman is currently running at the Hudson Theatre until Jan. 15, 2023.

Eli Johnson is the Theatre Columnist for the Empire State Tribune. He is a freshman at The King's College majoring in Business. He is an avid theatre-goer and always enjoys a game of chess.