Late 1940s; Willy Loman's house; New York City and Barnaby River; Boston
Death of a Salesman is a 1949 stage play written by the American playwrightArthur Miller. The play premiered on Broadway in February 1949, running for 742 performances. It is a two-act tragedy set in late 1940s Brooklyn told through a montage of memories, dreams, and arguments of the protagonist Willy Loman, a travelling salesman who is despondent with his life and appears to be slipping into senility. The play addresses a variety of themes, such as the American Dream, the anatomy of truth, and infidelity.[1][2] It won the 1949 Pulitzer Prize for Drama and Tony Award for Best Play. It is considered by some critics to be one of the greatest plays of the 20th century.[3] The play was selected as one of the best plays of 1948–1949, with an excerpted version published in The Burns Mantle Best Plays of 1948–1949.[4]
Since its premiere, the play has been revived on Broadway five times,[5] winning three Tony Awards for Best Revival. It has been adapted for the cinema on ten occasions, including a 1951 version by screenwriter Stanley Roberts, starring Fredric March. In 1999, New Yorker drama critic John Lahr said that with 11 million copies sold, it was "probably the most successful modern play ever published."[6]
Background
The genesis of the play was a chance encounter between Miller and his uncle Manny Newman, a salesman, whom he met in 1947 in the lobby of a Boston theater that was playing All My Sons.[6] Writing in a critical study of the play, author Brenda Murphy observed that Manny "lodged in his imagination and created a dramatic problem that he felt compelled to solve."[7]
Miller later recounted that when he saw Manny at the theater, "I could see the grim hotel room behind him, the long trip up from New York in his little car, the hopeless hope of the day's business." Without acknowledging Miller's greeting or congratulating him on the play, Manny said "Buddy is doing very well."[6] Buddy was Manny's son, and Manny saw Miller and his older brother as "running neck and neck" with his two sons "in some race that never stopped in his mind." When visiting Manny as a youth, Miller felt "gangling and unhandsome" and usually heard "some kind of insinuation of my entire life's probable failure."[8] Seeing him again in Boston, Manny seemed to the playwright to be "so absurd, so completely isolated from the ordinary laws of gravity, so elaborate in his fantastic inventions," yet so much in love with fame and fortune that "he possessed my imagination."[7] Manny died by suicide soon after,[8] which was the cause of death of two other salesmen Miller had known. One of Manny's sons told Miller that Manny had always wanted to create a business for his two sons. Learning that transformed Manny, in Miller's mind, to "a man with a purpose."
Miller had been thinking about a play about a salesman for years. He also had new interest in the simultaneousness of the past and present that was evident at their meeting, as it was plain that he and his cousins were viewed by Manny as they were when they were adolescents, many years earlier. Miller sought to "do a play without any transitions at all, dialogue that would simply leap from bone to bone of a skeleton that would not for an instant cease being added to, an organism as strictly economic as a leaf, as trim as an ant."[7]
In creating Willy and the other characters, Miller also drew on his relationship with his father as well as another salesman. Miller was himself the model of the young Bernard.[7]
Plot
The play takes place in 1949. The setting is the Loman home in Brooklyn,[9] located amidst a typical row of urban apartment buildings.
Willy Loman suddenly returns home exhausted after a canceled business trip to Boston. Worried over Willy's state of mind and recent car accident, his wife Linda suggests that he ask his boss, Howard, to allow him to work in his home city so he will not have to travel. Willy complains to Linda about their son, Biff, who is 34 years old and has yet to do something with his life. Despite Biff having a promising football career in high school, he failed in mathematics and was therefore unable to enter a university.
Biff and his younger brother, Happy, who is temporarily staying with Willy and Linda after Biff's unexpected return from the West, reminisce about their childhood together. They discuss their father's mental degeneration, which they have witnessed in the form of his constant indecisiveness and daydreaming about the boys' high school years. Eventually, Willy walks in, angry that the two boys have never amounted to anything. In an effort to pacify their father, Biff and Happy tell him that Biff plans to make an ambitious business proposition the next day.
The next day, Willy goes to Howard’s office for a job in town while Biff goes to make a business proposition, but they both fail. Howard refuses to give Willy a New York job, despite his desperate pleas. Willy then loses his temper and ends up getting fired when Howard tells him that he needs a long rest and is no longer allowed to represent the Wagner Company. On the other hand, Biff waits hours to see a former employer who does not remember him and turns him down. In response Biff, feeling crushed, impulsively steals a fountain pen. Willy then goes to the business office of his neighbor Charley, where he runs into Charley's son Bernard, who is now a successful lawyer about to argue a case in front of the Supreme Court. Bernard tells him that Biff originally wanted to go to summer school to make up for failing math, but something happened in Boston when Biff went to visit his father that changed his mind. Charley then offers Willy a stable do-nothing job, but Willy vehemently refuses despite losing his job. Charley, who feels insulted, reluctantly gives the now-unemployed Willy money to pay off his life-insurance premium, and Willy shocks Charley by remarking that ultimately, a man is "worth more dead than alive."
Happy, Biff, and Willy meet for dinner at a restaurant, but Willy refuses to hear the bad news from Biff. Happy tries to coax Biff to lie to their father. He tries to tell him what happened as Willy gets angry and slips into a flashback of what happened in Boston the day Biff came to see him: Biff had come to Boston to ask Willy to convince his teacher to curve his failing math grade, so he could graduate. However, Willy was in the middle of an extramarital affair with a receptionist when Biff arrived unexpectedly, and saw the half-dressed woman with him. Biff did not accept his father's cover-up story for her presence, and angrily dismissed him as a liar and a fake before storming out. From that moment, Biff's views of his father changed and set him adrift.
Biff leaves the restaurant in frustration, followed by Happy, leaving a confused and devastated Willy behind. When they later return home, Linda angrily confronts them for abandoning their father while Willy remains outside, talking to himself. Biff tries to reconcile with Willy, but the discussion quickly escalates into emotional conflict. Biff conveys plainly to his father that he is not meant for anything great, insisting that both of them are simply ordinary men meant to lead ordinary lives. The argument reaches an apparent climax as Biff hugs Willy and begins to cry as he tries to get Willy to let go of his unrealistic expectations. Rather than listen to what Biff actually says, Willy appears to believe his son has forgiven him and will follow in his footsteps, and after Linda goes upstairs to bed, lapses one final time into a hallucination, thinking he is talking to his long-dead wealthy brother Ben. In Willy's mind, Ben "approves" of the scheme Willy has dreamed up to take his own life in order to give Biff his life insurance money to help him start a business. Willy exits the house, and Biff and Linda cry out in despair as the sound of Willy's car blares up and fades out. The car crashes and Willy dies.
The final scene takes place at Willy's funeral. Linda and Happy stand in shock after Willy’s poorly attended funeral only by his family, Charley, and Bernard (who does not speak during the scene). Biff upholds his belief that he does not want to become a businessman like his father. Happy, on the other hand, chooses to follow in his father's footsteps. Linda begins to sob, repeating “We’re free. . . .” All exit, and the curtain falls.
William "Willy" Loman: The titular salesman. The product he is selling is never disclosed.[6] He is 63 years old, unstable, insecure, and self-deluded. He vacillates between different eras of his life throughout the play, and re-imagines them as if they were the present. Willy's age and deteriorating mental state make him appear childlike. His first name, Willy, reflects this childlike aspect as well as sounding like the question "Will he?"
Linda Loman: Willy's loyal and loving wife. Linda is supportive and docile when Willy talks unrealistically about hopes for the future, although she seems to have a good knowledge of what is really going on. She chides her sons, particularly Biff, for not helping their father, and supports Willy even though Willy treats her poorly. She is the first to realize that Willy is contemplating suicide at the beginning of the play.
Biff Loman: Willy's elder son. Biff had a promising high school football career but failed math his senior year and dropped out of summer school when he saw Willy with another woman. He wavers between going home to try to fulfill Willy's dream for him as a businessman or ignoring his father by going West to be a farmhand where he feels happy. Biff steals because he wants evidence of success, even if it is false evidence.
Harold "Happy" Loman: Willy's younger son. He has lived in the shadow of his older brother Biff, but he still tries to be supportive toward his family. He has a restless lifestyle as a womanizer and ambitions of career advancement. He takes bribes at work. He yearns for approval from his parents, but he rarely gets any. He makes things up for attention, such as repeatedly telling his parents he is going to get married. His relationship with Linda is turbulent; she looks down on him for his lifestyle.
Charley: Willy's wisecracking yet kind neighbor. He frequently lends Willy money and plays cards with him, although Willy treats him poorly. Willy is envious of him because his son is more successful than Willy's. Charley offers Willy a stable do-nothing job, but Willy declines every time.
Bernard: Charley's son. In Willy's flashbacks, he is a nerd, and Willy forces him to give Biff test answers. Later, he is a successful lawyer, married, and expecting a second son – the same successes that Willy wants for his sons.
Ben: Willy's deceased older brother, a diamond tycoon. Though long dead, Willy frequently “speaks” to him in his hallucinations. He represents Willy's idea of the American Dream success story, and is shown visiting the Lomans' house while on business trips to share stories.
The Woman: A woman, whom Willy calls "Miss Francis", with whom Willy cheated on Linda.
Howard Wagner: Willy's boss. Willy worked originally for Howard's father Frank and claims to have suggested the name Howard for his newborn son. However, he sees Willy as a liability for the company and fires him, ignoring all the years that Willy has given to the company. Howard is extremely proud of his wealth, which is manifested in his new wire recorder, and of his family.
Jenny: Charley's secretary.
Stanley: A waiter at the restaurant who seems to be friends or acquainted with Happy.
Miss Forsythe: A girl whom Happy picks up at the restaurant. She is attractive and claims to have had her picture on several magazine covers. Happy lies to her, making himself and Biff look like they are important and successful by saying that Biff is a professional quarterback and he is a successful champagne salesman.
Letta: Miss Forsythe's friend.
Themes
Reality and illusion
Reality and illusion are prominent themes in Death of a Salesman. The play uses flashbacks to present Willy's memories, but it is unclear whether they are accurate. He makes up lies about his and Biff's success. The more he indulges in the illusion, the harder it is for him to face reality. Biff realizes the problem and wants to face the truth. In this conflict, the play shows how the American Dream could be a lie.[10]
Tragedy
In several statements, Miller compared the play's characters to Greek tragedy. Miller wanted to show that the common man and those with status had much in common.[11][12]
Writing in The New York Times in 1999, journalist John Tierney argued that the play was not constructed like a classical tragedy. He observed that the mental illness suffered by Loman was a "biochemical abnormality" that was "not the sort of tragic flaw that makes a classic play." But he noted that "Willy's fate is supposed to be partly a result of his own moral failings, in particular the adulterous affair [...], he is haunted by the memory of his infidelity and by the fear that it ruined his son's life."[8]
Reception
In the United States
Death of a Salesman first opened on February 10, 1949, to great success. Drama critic John Gassner wrote that "the ecstatic reception accorded Death of Salesman has been reverberating for some time wherever there is an ear for theatre, and it is undoubtedly the best American play since A Streetcar Named Desire."[13]Eric Bentley saw the play as "a potential tragedy deflected from its true course by Marxist sympathies."[13]
In the United Kingdom
The play opened in London on July 28, 1949. British responses were mixed, but mostly favorable. The Times criticized it, saying that "the strongest play of New York theatrical season should be transferred to London in the deadest week of the year." Eric Keown, theatre critic of Punch, praised the production for its "imagination and good theatre-sense", noting that "Mr. Elia Kazan makes a complicated production seem extraordinarily natural."[13]
In Germany
The play was hailed as "the most important and successful night" in Hebbel Theater in Berlin [when?]. It was said that "it was impossible to get the audience to leave the theatre"[by whom?] at the end of the performance.[13]
In India
Compared to Tennessee Williams and Samuel Beckett, Arthur Miller and his Death of a Salesman were less influential. Rajinder Paul said that "Death of a Salesman has only an indirect influence on Indian theatre."[13] However, it was translated and produced in Bengali as 'Pheriwalar Mrityu' by the theater group Nandikar. Director Feroz Khan adapted the play in Hindi and English by the name "Salesman Ramlal" played by Satish Kaushik, the son was portrayed by Kishore Kadam.[14][15]
In China
Arthur Miller directed the play himself in China, stating that it was easier for the Chinese public to understand the relationship between father and son because "One thing about the play that is very Chinese is the way Willy tries to make his sons successful." Many traditional Chinese fathers want their sons to be 'dragons.'[16]
February 10, 1999, at the Eugene O'Neill Theatre, running for 274 performances, with Brian Dennehy as Willy. The production won the Tony Award for: Best Revival of a Play; Best Actor in Play; Best Featured Actress in a Play (Elizabeth Franz); Best Direction of a Play (Robert Falls). This production was filmed.
Salesman in Beijing (1984) by Arthur Miller, with photos by wife Inge Morath, recounts his experience directing the play for Beijing People’s Art Theatre in 1983.[29]
Wife of a Salesman (2022) by Eleanor Burgess, received its world premiere at the Writers Theatre (Glencoe, Illinois) in a joint production with Milwaukee Repertory Theater.[30][31] The play's premise is that Linda Loman confronts a woman with whom Willy is having an affair.[32]
Salesman in China – by Leanna Brodie and Jovanni Sy had its world premiere as part of the Stratford Festival's 2024 season.[33] It covers the 1983 Beijing People's Art Theatre production and is performed in English and Chinese, with subtitles in both languages.[29]
Arthur Asher Miller was an American playwright, essayist and screenwriter in the 20th-century American theater. Among his most popular plays are All My Sons (1947), Death of a Salesman (1949), The Crucible (1953), and A View from the Bridge (1955). He wrote several screenplays, including The Misfits (1961). The drama Death of a Salesman is considered one of the best American plays of the 20th century.
Warren Mitchell was an English actor, best known for playing bigoted cockney Alf Garnett in television, film and stage productions from the 1960s to the 1990s. He was a BAFTA TV Award winner and twice a Laurence Olivier Award winner.
John Arthur Kennedy was an American stage and film actor known for his versatility in supporting film roles and his ability to create "an exceptional honesty and naturalness on stage", especially in the original casts of Arthur Miller plays on Broadway. He won the 1949 Tony Award for Best Featured Actor in a Play for Miller's Death of a Salesman. He also won the Golden Globe for Best Supporting Actor for the 1955 film Trial, and was a five-time Academy Award nominee.
Lee J. Cobb was an American actor, known both for film roles and his work on the Broadway stage, as well as for his television role in the series, The Virginian. He often played arrogant, intimidating and abrasive characters, but he also acted as respectable figures such as judges and police officers. Cobb originated the role of Willy Loman in Arthur Miller's 1949 play Death of a Salesman under the direction of Elia Kazan, and was twice nominated for the Academy Award for Best Supporting Actor, for On the Waterfront (1954) and The Brothers Karamazov (1958).
Sir Antony Sher was a British actor, writer and theatre director of South African origin. A two-time Laurence Olivier Award winner and a four-time nominee, he joined the Royal Shakespeare Company in 1982 and toured in many roles, as well as appearing on film and television. In 2001, he starred in his cousin Ronald Harwood's play Mahler's Conversion, and said that the story of a composer sacrificing his faith for his career echoed his own identity struggles.
William "Willy" Loman is a fictional character and the protagonist of Arthur Miller's play Death of a Salesman, which debuted on Broadway with Lee J. Cobb playing Loman at the Morosco Theatre on February 10, 1949. Loman is a 63-year-old travelling salesman from Brooklyn with 34 years of experience with the same company who endures a pay cut and a firing during the play. He has difficulty dealing with his current state and has created a fantasy world to cope with his situation. This does not keep him from multiple suicide attempts.
Kevin McCarthy was an American stage, film and television actor, remembered as the male lead in the horror science fiction film Invasion of the Body Snatchers (1956).
Alison Whyte is an Australian actress best known for her roles on the Australian television series Frontline and Satisfaction.
Harris Yulin is an American actor who has appeared in over a hundred film and television series roles, such as Scarface (1983), Ghostbusters II (1989), Clear and Present Danger (1994), Looking for Richard (1996), Bean (1997), The Hurricane (1999), Training Day (2001), and Frasier which earned him a Primetime Emmy Award nomination in 1996.
Richard Ward was an American actor on the stage, television, and in films, from 1949 until his death.
George J. Costigan is an English actor who is best known for portraying Bob in the 1987 film Rita, Sue and Bob Too and for roles in TV series such as Prime Suspect and also Line of Duty.
Death of a Salesman is a 1985 American made-for-television film adaptation of the 1949 play of the same name by Arthur Miller, directed by Volker Schlöndorff, and starring Dustin Hoffman, Kate Reid, John Malkovich, Stephen Lang and Charles Durning. The film follows the script of the 1949 play, with only minor differences, and premiered on CBS September 15, 1985. The film earned ten Emmy nominations at the 38th Primetime Emmy Awards ceremony, and four Golden Globe nominations at the 43rd Golden Globe Awards ceremony, winning three and one, respectively.
Death of a Salesman is a 2000 American made-for-television film adaptation of the 1949 play of the same name by Arthur Miller and directed by Kirk Browning. The film stars American actor Brian Dennehy as Willy Loman. The film earned two nominations at both the 7th Screen Actors Guild Awards in 2001 and the 52nd Primetime Emmy Awards in 2000.
Death of a Salesman is a 1951 American drama film adapted from the 1949 play of the same name by Arthur Miller. It was directed by László Benedek and written for the screen by Stanley Roberts. The film received many honors, including four Golden Globe Awards, the Volpi Cup and five Oscar nominations. Alex North, who wrote the music for the Broadway production, was one of the five Academy Award nominees for the film's musical score.
Sarah Frankcom is an English theatre director. She was an artistic director of the Royal Exchange theatre in Manchester from 2008 to 2019, when she became director of the London Academy of Music and Dramatic Art.
Death of a Salesman is a 1966 American made-for-television video adaptation of the 1949 play of the same name by Arthur Miller. It was directed by Alex Segal and adapted for television by Miller. It received numerous nominations for awards, and won several of them, including three Primetime Emmy Awards, a Directors Guild of America Award and a Peabody Award. It was nominated in a total of 11 Emmy categories at the 19th Primetime Emmy Awards in 1967. Lee J. Cobb reprised his role as Willy Loman and Mildred Dunnock reprised her role as Linda Loman from the original 1949 stage production.
"Death of a Salesman" is a television play episode of the BBC One anthology television series Play of the Month, based on the 1949 play of the same name by Arthur Miller. It was directed by Alan Cooke, starred Rod Steiger as Willy Loman. and originally aired on 24 May 1966
Death of a Salesman is a 1996 British made-for-television film adaptation of the 1949 play of the same name by Arthur Miller. It was directed by David Thacker and starred Warren Mitchell as Willy Loman. Mitchell reprised the role for which he had won the West End theatre Laurence Olivier Award for Actor of the Year in a Revival in 1979.
The Salesman is a 2016 Iranian-French drama film written and directed by Asghar Farhadi and starring Taraneh Alidoosti and Shahab Hosseini. It is about a married couple who perform Arthur Miller's 1949 play Death of a Salesman on stage. When the wife is assaulted, her husband attempts to determine the identity of the attacker, while she struggles to cope with post-trauma stress. Farhadi chose Miller's play as his story within a story based on shared themes. A co-production between Iran and France, the film was shot in Tehran, beginning in 2015.
Khris Davis is an American film, stage and television actor. He is best known for his roles as Steel in the drama film Judas and the Black Messiah and Malik in Space Jam: A New Legacy.
↑ Thompson, Terry W. (March 22, 2016). "'Built Like Adonises': Evoking Greek Icons in Death of a Salesman". The Midwest Quarterly. 57 (3): 276–288. GaleA449656101ProQuest1782245770.
1 2 3 4 5 Meserve, Walter (1972). Studies in Death of a Salesman. Columbus, Ohio: Charles E. Merrill Publishing Company. ISBN978-0-675-09259-3.
Miller, Arthur Death of a Salesman (Harmondsworth: Penguin Books, 1996) ISBN9780140247732. Edited with an introduction by Gerald Weales. Contains the full text and various critical essays.
Criticism
Hurell, John D. (1961). Two Modern American Tragedies: Reviews and Criticism of Death of a Salesman and A Streetcar Named Desire. New York: Scribner. pp.82–8. OCLC249094.
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