“Death of a Salesman” at Ford’s Theatre, with Kimberly Schraf (Linda), Danny Gavigan (Happy), Craig Wallace (Willy Loman) and Thomas Keegan (Biff). Photo by Carol Rosegg.
“I don’t say he’s a great man. Willy Loman never made a lot of money. His name was never in the paper. He’s not the finest character that ever lived. But he’s a human being, and a terrible thing is happening to him,” said Linda to her son Biff about his father in Arthur Miller’s “Death of a Salesman,” now playing at Ford’s Theatre through October 22, 2017.
In his timeless play, Arthur Miller asks questions, such as how far would you go to achieve the American Dream? Is the American Dream attainable for all those who are willing to work hard? And, are we as Americans, too focused on status and materialism, blinding our society as to what could be a more noble meaning of the word “success” and the American Dream?
Director Stephen Rayne gives the audience an unshakable, gut-wrenching production of “Death of a Salesman,” focusing on the text, letting the words of Miller speak for itself.
It is interesting to note that actor Craig Wallace is paired with his real-life partner actress Kimberly Schraf in their roles as Willy and Linda. As Willy, Craig Wallace gives a solid performance as the traveling salesman who only wants to be well-liked, respected, and to be able to support his own family. As Linda, Kimberly Schraf never wavers as the devoted, supportive wife, despite his flaws. Though the sons are close to their mother, Biff (a trusting and sensitive Thomas Keegan) and Happy (a compulsive womanizing Danny Gavigan) suffer from a crippled relationship with their father.
… unshakable, gut-wrenching production…
Appearing as part of Willy’s stream of consciousness is his older, deceased brother, Ben (a heavenly Frederick Strother) who got rich by finding diamonds in the African jungle. Ben’s costume, designed by Wade Laboissonniere, helps to make the character look dapper, complete with an off-white suit, vest with pocket watch, hat, red tie, and a cane with secret sword.
Everyone around Willy, except his immediate family, is living the American Dream. It’s so tough on Willy that he tries several times to do himself in with car crashes as well as trying to asphyxiate himself with the water heater’s gas pipe.
Then there’s Willy’s next door neighbor, Charley, a successful businessman. Both are very different men. Willy is a dreamer who is a failure, while Charley is a man of practicality who is successful. Despite their contentious relationship, Charley is Willy’s only friend. With his charming and jovial personality, Michael Russotto is lovable as the affable businessman, Charley, even offering Willy a job, which he turns down due to pride. Charley’s only son, Bernard (a bright Brandon McCoy), grows up to be a successful lawyer.
Though not on stage for very long, KenYatta Rogers makes quite the impression as Howard Wagner, the son of Frank Wagner, Willy Loman’s former boss. I enjoyed the obsessed, excited look in KenYatta’s eyes as he demonstrated his new wire recorder to Willy at the meeting. (It’s as if Miller predicted how one day people would become preoccupied with technology.)
The cast is rounded off with Jennifer Gerdts (The Woman), Aakhu TuahNera Freeman (Jenny), Joe Mallon (Stanley), Kathryn Tkel (Miss Forsythe), and Nora Achraita (Waiter).
The minimalist, tiered stage design by Tim Mackabee allows the action to flow between what is actually happening and the past events that continue to come into Willy Loman’s mind. What is more, the focus is on the text, rather than elaborate, realistic sets. The set includes skyscraping wall of windows tower above the Loman’s 1949 Brookly living room, the boys bedroom, and the master bedroom. Lighting design by Pat Collins and sound design and original music by John Gromada also helps transition into Willy’s stream of consciousness.
Arthur Miller’s “Death of a Salesman” is one of the greatest American plays every written. “With ‘Death of a Salesman,” Arthur Miller wanted to write a play that transcended time and play and was universal in its appeal,” said production director Stephen Rayne. “In the 70 years since the play opened, Willy Loman’s fervent emphasis on the importance of being ‘well-liked’ and our compulsion to measure someone’s worth by the size of their paycheck seems to have become more pronounced in American culture.”
Running Time: 3 hours with one intermission.
Advisory: Recommended for ages 13 and older.
“Death of a Salesman” runs thru October 22nd at Ford’s Theatre – 511 10th St NW, Washington, DC 20004. For tickets please call (202) 347-4833 or click here.
