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Death of a Salesman Tickets
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Death of a Salesman is a 1949 play by Arthur Miller and is one of his most famous and commonly revived works. Viewed by many as a caustic attack on the American Dream of achieving wealth and success without regard for principle, Death of a Salesman made both Arthur Miller and the character Willy Loman household names. Some of the other titles Miller considered for the play were The Inside of His Head and A Period of Grace. It was greeted with enthusiastic reviews, received the Pulitzer Prize for Drama in 1949, the 1949 Tony Award for Best Play, as well as the New York Drama Critics Circle Award for Best Play. Death of a Salesman was the first play to win these three major awards. Produced on six of seven continents, the searing drama helped to confirm Miller as an internationally-known playwright.//The play centers on Willy Loman, an aging salesman who is beginning to lose his grip on reality without knowing that he is. Willy places great emphasis on his supposed native charm and ability to make friends; stating that once he was known throughout New England, driving long hours but making unparalleled sales, his sons Biff and Happy were the pride and joy of the neighborhood, and his wife Linda went smiling throughout the day. Unfortunately, time has passed, and now his life seems to be slipping out of control.Willy has worked hard his entire life and ought to be retiring by now, living a life of luxury and closing deals with contractors on the phone—especially since increasing episodes of depersonalization and flashback are impairing his ability to drive. Instead, all of Willy's aspirations seem to have failed: he is fired from his job—which barely paid enough anyway—by a man young enough to be his son and who, in fact, Willy himself named. Willy is now forced to rely on loans from his only real friend (and the word is used loosely at that), Charley, to make ends meet. None of Willy's old friends or previous customers remember him. Biff, his 34-year-old son, has been unable to 'find himself' as a result of his inability to settle down (caused by Willy drumming into him the need to 'make it big within two weeks'), and Happy, the younger son, lies shamelessly to make it look like he is a perfect Loman scion. In contrast, Charley (who, Willy tells his boys conspiratorially, is not well-liked), is now a successful businessman, and his son, Bernard, a former bespectacled bookworm, is now a brilliant lawyer. We are told how Willy had at least one affair while out on business trips, one particularly that was discovered by Biff (which broke his faith in Willy). Finally, Willy is haunted by memories of his now-dead older brother, Ben, who at an early age left for Africa: "And when I walked out, I was rich!". Ben has constantly overshadowed Willy, and he is in many ways the man that Willy wanted to be. Ben's approach is heralded by idylic music, showing Willy's idolisation of him, and in flashbacks we see Willy asking for Ben's advice on parenting.The play's structure resembles a stream of consciousness account: Willy drifts between his living room, downstage, to the apron and flashbacks of an idyllicized past, and also to fantasized conversations with Ben. The use of these different 'states' allows Miller to contrast Willy's dreams and the reality of his life in extraordinary detail, and also allows him to contrast the characters themselves, showing them in both sympathetic and villainous light, gradually unfolding the story, and refusing to allow the audience a permanent judgement about anyone. When we are in the present the characters abide by the rules of the set, entering only through the stage door to the left, however when we visit Willy's 'past' these rules are removed, with characters openly moving through walls. Whereas the term 'flashback' as a form of cinematography for these scenes is often heard, Miller himself rather speaks of 'mobile concurrences'. In fact, flashbacks would show an objective image of the past. Miller's mobile concurrences, however, rather show highly subjective memories. Furthermore, Willy destroys the boundaries between past and present, and the two start to exist in parallel
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