5/20/2023 0 Comments Death of a salesman requiem![]() ![]() The easy, seductive smile of the salesman comes naturally to Dennehy. ![]() It’s a good snug fit, and Willy falls that much harder. If, in this era of the Home Shopping Channel, the already tragically out-of touch Loman looms a little like a dinosaur lumbering around in a land that time forgot, then Dennehy is just the behemoth for the job - a massive male presence who seems to be shoehorned into this persona of the failed Little Man. Cobb was the first in the long line of Lomans, and Brian Dennehy is the latest, arriving at the Eugene O’Neill in a lavishly praised production that Robert Falls directed at the Goodman in Chicago. Willy’s plight - believing in the American dream and chasing it blindly, only to be betrayed by it - has a timeless resonance that profits from the retelling. ![]() But in second place, screeching one stop ahead of Tennessee Williams’s A Streetcar Named Desire, was Miller’s uniquely American tragedy of a burned-out drummer at the end of his road. ![]() Willy Loman hit Broadway 50 years ago this month and has lived in legend ever since, but it wasn’t until last fall that Arthur Miller’s Death of a Salesman laid a legitimate claim to being The Great American Play: Britain’s Royal National Theatre polled 800 theatre professionals to determine the century’s most important English-speaking play the winner was Waiting for Godot by Ireland’s Samuel Beckett. Elizabeth Franz and Brian Dennehy in the current Broadway revival of Death of a Salesman. ![]()
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