Review: DEATH OF A SALESMAN, Birmingham Rep - Tour
Photo credit: Tommy Ga-Ken Wan
Arthur Miller’s Death of a Salesman has stood the test of time since its debut in 1949, picking up both the Pulitzer Prize for Drama and a Tony Award for Best Play. The themes of financial struggle, the American Dream, and family tensions still hit home today – and this production at the Birmingham REP is no exception.
Starring David Hayman as Willy Loman, Beth Marshall as Linda Loman, and a solid supporting cast, this is a production full of emotional weight. Hayman delivers a masterclass in his portrayal of Willy, completely immersing himself in the character with each breath. His characterisation of Willy is both tragic and empathetic, living every moment on stage in a way that is truly gripping. The chemistry between Hayman and the cast, particularly Daniel Cahill as Biff Loman and Michael Wallace as Happy Loman, is brilliant, adding layers to the emotional undercurrent of the play. Cahill and Wallace’s dynamic feels natural, capturing the tension between brothers who are both trapped by their father’s expectations.
The story itself is a familiar one: Willy Loman, an ageing salesman, struggles with his delusions of grandeur and his relationship with his family. The play unfolds in a series of memories, dreams, and delusions, which are seamlessly transitioned by the direction of Andy Arnold. The transitions from present to past and back again are smooth, providing an almost dream-like quality to the performance. Neil Haynes’ set is simple yet effective, particularly the towering tree that casts a long shadow over the family’s financial ruin, grounding the play’s themes.
However, for those who are unfamiliar with the play or who come to it expecting something more fast paced, the experience may be a challenge. The pacing, at times, drags. Act 1 runs for an hour and ten minutes, while Act 2 extends to an hour and 25 minutes, making it feel more like a marathon than a play. In a world of TikTok-speed entertainment, this slower, gentler pace may be a bit too much to swallow for some. The play embraces a stillness, with actors often sat to the side, watching the action unfold – a Brechtian technique that can feel alien to younger audiences in particular.
The ensemble cast, including Gavin Jon Wright as Bernard, Benny Young as Charley, and others, do well to bring the supporting characters to life. While live music is integrated into the performance, it feels somewhat unnecessary, as if simply adding extra layers for the sake of it. It doesn’t always contribute to the tension or atmosphere of the production.
That said, the themes of mental health, dementia, and loss of personal value are deeply moving, and the play remains relevant even 75 years after its first performance. The financial struggles and social anxieties that drive the plot are still sharply felt in today’s world. For many, these themes will resonate strongly, making this an important piece to revisit in a modern context. But even though the play’s writing is rooted in its time, the anxieties about success and identity are universal.
For those who have studied Death of a Salesman in school or university, this production offers a deeper connection to the work. However, for the TikTok generation or those coming in without prior knowledge, the slow pace and heavy reliance on stillness might prove too much.
It’s certainly worth seeing for Hayman’s incredible performance alone, and the chemistry between Cahill and Wallace makes for some of the most poignant moments in the show. But the slow pace and occasional underutilisation of the cast might leave some feeling disconnected.
So, in short, a must-see for theatre lovers who are familiar with the play or have an interest in its themes. For those new to the piece or seeking something faster paced, this one may be a bit of a tough sell.
*** Three stars
Reviewed by: Alanna Boden