Arthur Miller called his 1949 Pulitzer Prize-winning drama Death of a Salesman - now on view in a splendid production at the Fox - a “tragedy of the common man” because its protagonist isn’t the powerful, noble character usually associated with the genre. Willy Loman - even his name marks his status in life - is, in the words of his son Biff, “a dime a dozen...a hard-working drummer who landed in the ash can like all the rest of them”. His foolish and self-destructive pursuit of a dream world in which everything comes to you simply because you’re “well liked” isn’t just his tragedy, it’s a tragedy of an entire culture that raises popularity and personal magnetism above intelligence, ability and even common decency. In a nation still wrestling with a presidential election in which the major issue appeared to be which candidate was the more likable, Miller’s play reaches out across half a century to remind us that “attention must be paid”.
The production of Salesman at the Fox is the same one that earned rave reviews and Tony awards on Broadway last year, and for good reasons: it’s intelligently directed by Robert Falls, the artistic director of Chicago’s Goodman Theatre, where this revival originated, and brilliantly acted by a cast that is just about ideal.
Brian Dennehy stars as Willy Loman, and it seems that he was born to play this role. He’s a physically imposing actor, which makes the contrast between Willy’s hearty, bluff exterior and his crushed inner life all the more poignant. Dennehy’s range is impressive, and that’s vital in a role that swings from weepy self-pity to towering rage to delirium. It’s the sort of performance that makes me realize what a truly great role this is and why so many actors aspire to take it on.
Ted Koch and Steve Cell are Willy’s sons Biff and Happy. They’re just about perfect as well. Koch’s gruff voice and hunched body language give eloquent voice to Biff’s torment as he tries to reconcile the empty dream Willy has sold him with his own inability to fill it. Cell, in contrast, shows us Happy’s easy charm and self-confidence as he follows Willy’s dream, but not without the occasional twinge of self-doubt.
The role of Willy’s long-suffering wife Linda is a bit thankless. Miller was rarely able to write strong, interesting roles for women and Linda can easily become a clueless whiner, unable to comprehend Willy’s folly and the way it has infected his sons. Elizabeth Franz manages to overcome the role’s inherent weakness with an iron-willed performance that suggests Linda may understand more than the text indicates she should. It’s no wonder she copped a Tony for it.
There are also strong performances from the supporting cast, especially Kent Klineman as Bernard, the smart but “not well liked” kid who achieves the success that has eluded Biff and Happy and Allen Hamilton, exuding the appropriate worldly authority as the near-mythical Uncle Ben. Applause also for Howard Witt, who brings a nice combination of sympathy and irony to the role of Willy’s endlessly patient neighbor Charley.
The bottom line: this Death of a Salesman is a powerful production of an American classic that’s at least a relevant now as it was in 1949. Don’t miss it. Final performances are Tuesday at 1 and 8 PM at the Fox; call Metrotix at 314-534-1111 for ticket information.