‘a hard-hitting and uncompromising piece of theatre. . . although it does lose its way at times’
Director Tristan Fynn-Aiduenu puts an inspired spin on Arthur Miller’s classic story – whilst still retaining its contemporary and timeless nature – with a mixed-race immigrant family embodying the generations of people who have journeyed across continents and assimilated into the culture in their pursuit of the American dream.
A tired salesman, 60-year-old Willy Loman (Cyril Nri), returns to his Brooklyn home and wife, Linda (Emma Cater), following an arduous road trip in which yet again he has failed to meet his target. But Willy doesn’t want to face the reality of his situation and the outstanding bills when he can indulge in the illusion of success that he believes is ultimately governed by popularity and where money will bring happiness.
Whilst younger son Happy (Kiren Kebaili-Dwyer) represents all that his father believes in, one-time sports star and now faded athlete elder son Biff (Laurence Ubong Williams), serves up a different message where happiness is about enjoying what you like and what you’ve got, whilst also serving as a timely reminder to his father that what he says and what he does are not one and the same having caught him in flagrante with a woman (Adelaide Banks) many years before.
Ridden by dreams of the past where he imagines a different life based on his core familial beliefs, Willy is in fact haunted by the memory of now deceased elder brother Ben (Tayo Aluko) who appeared to have lived the all-American dream by catching an opportunity, conquering nature, and gaining a fortune in the process. In contrast, neighbour Charley (Joe Speare) and son Bernard (Noah Olaoye) serve to demonstrate that whilst self-belief may get you some of the way, it’s no real substitute for hard work, a point proven when boss Howard Wagner (Olaoye) lets him go.
Interspersed with warm moments of good humour, this is a hard-hitting and uncompromising piece of theatre, delightfully portraying issues that resonate as strongly today, although it does lose its way at times. With some tightening up and losing some of the unnecessary added trimmings – which only serve to lengthen what is already a long play – it has the potential to be an excellent production.
Georgia Wilmot’s set and costume design certainly captures the late 1940’s Brooklyn period with the necessary adaptability to allow us to move seamlessly between scenes, but the occasional introduction of 21stC items such as laptops and mobile phones was a little confusing and often at odds with the drama unfolding before us that by its very design weaves between past and present.
Ernest Acquah’s compositions and sound design were equally sympathetic but often too difficult to hear, but at least they didn’t swamp the scenes. The recurring musical motif of the flute, intended to symbolise nostalgia, nature, and the unfulfilled legacy of Willy’s father, was too fragmentary and underwhelming, and certainly fell short of framing the play as it should do.
Whilst Kaitlin Howard’s fight scenes were well choreographed and impactful, key symbols such as the hosepipe and the seeds were lost to many due to sightline issues and it is questionable whether the production, designed at this theatre, really took advantage of the opportunities that the venue’s thrust stage presents, with entrances through the audience and stage undermining the suspense of who is behind a knock at the door.
Nri delivers a strong performance, shifting, often physically, between the quick-wit and positive nature of his salesman to the rage and bewilderment that the reality of both his present and past thrust upon him.
There is great support from the cast as a whole, although there were occasional slips in accent which becomes more confusing when we are presented with such a wide array as well as points in the play when they are purposefully meant to shift.
Williams impressed throughout, accomplishedly handling the full gamut of emotions that Biff goes through, whilst Speare perfectly embodied the neighbour and erstwhile friend who is the only one who really gets how the world works and can offer a lifeline, albeit one that is rejected.
Death of a Salesman performs at Liverpool Everyman through to Saturday 10th October 2026, with further details and booking https://everymanplayhouse.com/event/death-of-a-salesman/
Review Date: 24th September 2026
Star Rating: FOUR