![]() Pierce’s performance and this production, mind you, fully support what Miller wrote. Scott back in 1975, the neighbors of the white Lomans were performed by black actors-at the time a racially significant statement by Scott, who also directed.) (In the first Broadway revival of the play, starring George C. Not a case of color-blind casting, mind you but one in which this particular family lives and interacts with Willy’s traditionally white neighbors and employer. Rather, they retained the author’s time (1949) and place (Brooklyn) but chose to cast the Loman family with actors who are Black. But this Salesman seems not to have weathered the three years so well, losing a substantial slice of effectiveness on its journey from the Thames to the Hudson.Ĭo-directors Elliott ( War Horse, The Curious Incident of the Dog at Night-Time) and Cromwell (Elliott’s associate director on Angels in America and Company) did not envisage a radical rewrite of Miller. American actor Pierce ( The Wire, Suits) and the British Clarke ( Caroline, or Change) remain on hand, giving substantially the same performances as in those pre-pandemic days. The production has now come to Broadway’s Hudson, down the street from where Willy Loman first trundled those heavy sample cases in 1949. ![]() With Wendell Pierce and Sharon D Clarke in the leading roles, this was a great production of a great play, presenting the playwright’s unchanged words as new, alive, and enhanced for our times. The highlight of my last London theatre trip, in 2019, was the Marianne Elliott/Amanda Cromwell production of Arthur Miller’s Death of a Salesman at the Young Vic. Sharon D Clarke, Wendell Pierce, and Khris Davis in Death of a Salesman.
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