PlayMakers Repertory Company's "Death of a Salesman" is Eerily Timely

Allen Tedder and Jeffrey Blair Cornell star in Death of a Salesman. Photo by HuthPhoto.

Few plays have illuminated the American dream, and the many issues and perils behind its desirable facade, the way that Arthur Miller’s 1949 Death of a Salesman does. And, while it’s true that a lot has changed since the play’s debut, it’s also true that not enough has changed. Many of the problems that plague the unraveling, imperfect Willy Loman, the story’s protagonist, are still relevant.

This relevancy is at the core of the PlayMakers Repertory Company revival, onstage now through February 16th. Directed by Michael Wilson and starring, as the falling-apart-at-the-seams Willy, a formidable Jeffrey Blair Cornell, this production is not afraid to handle the dark subject matter in the bleakest, rawest way possible.

Jan Chambers’ scenic design is all darkness and piles of rubble. Everything in the Loman home is black and stark, though other locations, like a hotel Willy visits, are brightly lit, contrasting nicely and effectively showcasing the different, diverse places that make up Willy’s life. Additionally, a projection screen cleverly sets the scene and mood throughout the production, allowing for subtle shifts without ever fully eradicating the devastating darkness. Instead, it hangs there, always in the background, making viewers feel like they’re inside of Willy’s muddled head.

While Willy Loman’s life (and actions) may be imperfect, Cornell still makes him a rounded, sympathetic, and vulnerable character. He’s aided in his performance by a gifted supporting cast that’s equally adept at creating multi-layered characters in ways that go above and beyond what resides in the script.

Through the most subtle facial expressions and intonations, Julia Gibson brings to life a Linda Loman who is both surprisingly strong and tragically heartbreaking. The couple’s two sons are equally captivating, with Matthew Donahue adding humor in his role as “Happy” and Allen Tedder pulling heavy emotional weight as “Biff.” Tedder moves in and out of ages effortlessly. One moment, his Biff is young, charming, and full of promise. In another, he’s defeated, dejected, and desperately yearning for freedom and meaning in his life. Tedder’s propensity for emotional acting leads to some of the play’s most touching and deeply affecting moments. 

Extra acclaim is also owed to the amazingly clear sound quality that pervades the production. In a show so dense with vital, subtext-laden dialogue, it’s imperative that every word be heard, and that is definitely the case here. The actors never miss a beat, and the microphones pick up on every sigh and sniffle.

As the characters move toward the show’s inevitable end and, for some, the next stage of their lives, the message is not a hopeful one. Instead, the ending feels more like a warning, one that bears special weight in today’s troubled climate. Whether it’s presentiment or merely good timing, this production couldn’t feel more appropriate for today’s audiences.

-Susie Potter