Review: Death of a Salesman

Joseph Ziegler and Ari Cohen (photo by Cylla von Tiedemann)

A Death Foretold
by Beat Rice

It is common knowledge that Arthur Miller's Death of a Salesman is a staple in the roster of classic American theatre. It won numerous awards and is now studied in English and drama classrooms in high schools and theatre schools alike. I remember learning myself about about how Willy Loman is the symbol of the idealistic and unattainable American dream. I have even heard people use the name ‘Willy Loman’ as a term to refer to those who rely desperately on selling to make a living and to obtain self-worth. To some, Willy Loman may be a signifier of hopes had, and dreams lost. The remounted production at Soulpepper acknowledges this, but also shows Willy Loman for what he really is: a human being, just like the rest of us. 

His discontentment and desperation and guilt is the tragedy. His death was his release.

Most of the credit must go to the playwright; everything is really in the text. But the casting of the Loman family is what truly strikes you during the performance. Real-life couple, Joseph Ziegler and Nancy Palk, play Willy and Linda Loman. Their sons, Biff and Happy are played by Ari Cohen and Mike Ross. The chemistry between Ziegler and Palk is true and present, but not entirely surprising. It is, however, the dynamics between Ziegler and Cohen that carry the drama in this production. I found myself clocking out during scenes in which neither of them was involved. Their once close and proud relationship becomes strained as respect and expectations surrounding each other fall. Ziegler’s performance of Willy’s demise is heartbreaking, but his suicide somehow is not. Perhaps it is because of a questionable sound effect at the moment. His discontentment and desperation and guilt is the tragedy. His death was his release. 

Director Albert Schultz has taken this deeply rich play and shaped it into an extremely moving production. It is clear the time was taken to explore every crevice of the human soul. It is about family, sacrifice, ambition, expectations, values, desperation, brotherhood, hope, and so much more that must fit in a cramped set. The set, designed by Lorenzo Savoini, is clever, with a run down roof hanging precariously over the actors’ heads, but looked miniature and squashed. Schultz has scenes that happen outside of the Loman house staged far down right, which did not make sense all the time, especially with the Loman home in clear view. Perhaps the desired affect was for us to feel closed in, as Willy Loman’s world comes crashing down on him. There was also the element of a projection to serve the purpose of location changes that I found slightly distracting. But despite the somewhat awkward staging, the story and Joseph Ziegler as Willy Loman pull together a heart-wrenching tale that will affect everyone in an audience in a very personal way. 

Death of a Salesman is at Soulpepper