Andy Arnold brings his production of Arthur Miller's modern classic Death of a Salesman to Scottish theatres, impressively with an all-Scottish cast.
Ultimately as heavy as Willy Loman’s heart.
The play focuses on the post-war idealism of ‘The American Dream’, with the hapless Willy Loman (David Hayman) as the protagonist. Hayman delivers an admirable performance, physicalising Loman’s frailty perfectly. Washed out salesman, striving to “be liked and you will never want”, is comparable to today’s generation of social media disillusionment for likes and followers being equal to popularity and success.
Beth Marshall is convincing as Willy’s patient and forgiving wife, Linda. Aware of the reality happening around her, she earnestly clings to a long-lost hope of a ‘happy ever after’.
The story follows the family dynamic with the Lomans' two sons, Biff (Daniel Cahill), and Happy (Michael Wallace). Willy has an ideal of achievement and pushes this onto his kids, under the illusion that he is a moral man. Robust and radiant moments from Cahill bring an authenticity to Biff, angry at his father’s flaws and infidelity. He desires to break free from societal conformity. Happy, who is anything but happy, is deluded and strives to follow in Willy’s weak footsteps. Wallace achieves an energetic presence, but as a family of four, the actors lack connection. However, vigorous Stewart Ennis injects some vitality as Ben Loman, Willy’s older deceased brother. His energy reflects every success that Willy fails at.
Arnold’s directorial choice to have supporting actors sit at the side of the stage was the only note of interest within an underwhelming set (Neil Haynes) and simplistic lighting (Rory Beaton). The musicians are a welcome addition to brighten up a rather grey production, but unfortunately are underutilised.
Overall this "tragedy of the common man” is ultimately as heavy as Willy Loman’s heart.
