Review: DEATH OF A SALESMAN, Exeter Northcott Theatre

Seen by many as one of the greatest plays of the 20th century, Arthur Miller's Death of a Salesman has been performed in many guises since its first production in 1949.

The Royal Derngate and Northhampton production, which is currently touring the UK, holds a more quiet intensity than most however, with Abigail Graham directing a more subtle approach to the melancholic drama.

Washed up former ace salesman Willy Loman (Nicholas Woodeson) is struggling to keep pace with the world of business and begins to slip into an alternative consciousness, where he reimagines past events.

When his son returns home after another failed vocation, there is an attempt to reignite the family's fortunes, but the ghosts from the past hamper any progress made, both in Willy's career and in his relationship with his son.

As with all of Miller's works, the dialogue has a wordy yet penetrating nature and this understated take on the action, somehow gives a more powerful and sinister twist.

Nicholas Woodeson captures the sadness of Willy, while gaining huge sympathy as he depicts his unraveling in an unobtrusive manner. The role was to be played by Tim Pigott-Smith, before his untimely death earlier this year and Woodeson gives a fittingly powerful performance in his stead.

The complicated relationship between father and son is well executed with George Taylor as the wayward Biff, passionately displaying the traits of a man who has lived with the weight of his father's disappointment.

Ben Deery is suitably superficial as Happy and Tricia Kelly tackles the thankless task of plaYing Linda Loman with grace, although there are times when the complex script feels stumbled upon.

Connie Walker gives a great cameo performance as Miss Frances - gathering her undergarments as well as her dignity - while Michael Walters introduces some energetic adorability as the young Bernard.

Georgia Lowe's multi entrance set is ingenious and enables some fluidity to be injected into the otherwise fairly stationary nature of the play, but the sight lines are not always adhered to, which means cast can become a distraction when they are not on stage.

It's also a long old slog at almost three hours in duration - when you also factor in the interval - and with the play being of such high intensity, it can leave you feeling a bit brow beaten.

That said, this is a good production performed with a level of refinement that is rarely given to Miller's work.

Death of a Salesman at Exeter Northcott until 3 June

Photo by Manuel Harlan

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