These days, it's said that the cornerstone of any successful relationship is knowing how to listen (something a favorite college professor of mine made very clear). While that may be true, apparently Willy Loman didn't get the memo. One of Arthur Miller's most famous works, Death of a Salesmen captures the essence of proud, foolish man with an overblown ego who, in the long run, didn't really deserve the cruel hand that fate dealt him and his family.
Although not very familiar with Arthur Miller's work (the only other play of his I've seen or read is All My Sons), I have always been aware of the reputation of Death of a Salesman. While the magnitude of that reputation is certainly true, the foundation of the play is built on surprisingly simple and easy-to-relate-to themes. Philip Seymour Hoffman and his fellow players bring to life everyday issues such as family quarrels, frustration with routine, a difficult job market and, above all, the dramatic and devastating consequences that can result from failing to communicate properly. The case of Willy Loman's two sons could serve as a model for half of the college graduates in this country; working a series of low-level jobs while trying to find their path in life, yearning for social and financial independence and, more than anything else, the burning desire to make successful names of themselves (all in all, the American Dream, as Willy puts it).
The one confusing part of the performance were Willy's (for lack of a better term) flashbacks. Many of the most significant plot points were related via mental recollections of his "past glory" and conversations with his now-dead brother (the guy definitely had problems, let's leave it at that). Most of the time, whenever these mental episodes came into play, the stage was darkened and covered with a projection of golden leaves, but during the few occasions where this feature was left out, it took some time to realize what was "current" and what was just a memory.
The character of Willy Loman reminded me of personality traits present in two characters from short stories I read in college; Abner Snopes in William Faulkner's Barn Burning and Mr. DiMaria in W.D. Wetherell's The Man Who Loved Levittown. Overall, the show was filled with passionate and powerful performances that make it a worthy addition to the Broadway scene.
A little side note; besides the presence of Hoffman, it was apparently a star-studded night all around. On the night I saw the performance (4/3/12), my parents spotted Ethan Hawke in the audience several rows in front of us, and in the restroom during intermission, I ended up washing my hands right next to Owen Wilson. Who else was there that night, I wonder...?
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