Death of a Salesman
by Arthur Miller
Directed by Jacqueline Thompson
The Black Rep
January 13, 2023
Christian Kitchens, Ron Himes, Chauncy Thomas
Photo by Phillip Hamer
The Black Rep
The second entry in the Black Rep’s latest season is a well-known classic of the American theatre. Arthur Miller’s Death of a Salesman is one of those plays that’s become so ingrained in theatrical history that it’s been revived many times, as well as having been adapted for both the big and small screens multiple times, as well as being a frequent subject of study in high school and college literature and drama curricula. Its central figure, the world-weary salesman Willy Loman, has become a much-coveted role played by many a celebrated actor over the years, and many well-known directors have offered their takes on the story. At the Black Rep, director Jacqueline Thompson and cast look at this familiar story with a new perspective that adds a new layer to this already deep, tragic story, providing a strong showcase for a first-rate cast.
The “color conscious” casting approach to this show that the Black Rep employs is not unique, as an acclaimed production with a similar concept recently played on Broadway (having originated in London a few years ago). Still, even though this isn’t the first production to take this approach, it proves the concept to be especially powerful, in providing new depth to the story and reinforcing the Black Rep’s tradition of theatrical excellence, in acting and in the technical aspects of the play. Here, the Loman family is Black–led by Willy (Ron Himes) and his longsuffering wife, Linda (Velma Austin). Their two sons, former high school football star Biff (Chauncy Thomas), and the more upbeat but somewhat ignored younger son Happy (Christian Kitchens) are frequent subjects of the increasingly reflective and delusional Willy’s memories, as is his much older brother Ben (Kevin Brown), who only appears in flashbacks and represents the adventurous, successful life for Willy. Other figures in Willy’s world are still cast as white, such as his boss Howard (Franklin Killian), neighbor Charley (Jim Read), and Charley’s studious and eventually successful lawyer-son Bernard (Jacob Cange). This casting brings a different tone to the already tragic story, as Willy fights against expectations and holds on to his dreams for himself and his sons (especially Biff), even when those dreams are increasingly shown to conflict with reality.
The staging here is thoughtful and precise, bringing out aspects of the characters I haven’t noticed as much before. One notable difference is the prominence of Linda, played in a particularly emotional and insightful performance by Austin. I don’t think the script has been altered, but both in terms of direction and performance, I found myself noticing Linda more in this production, and her importance to the story is given more emphasis. Himes is also superb as Willy, in a sensitive and multi-layered performance that brings much sympathy to Willy’s plight, even when he isn’t entirely likable as a character. There are also strong turns from Thomas as the disillusioned Biff, and Kitchens as Happy, who tries to project a more carefree lifestyle but who is also clearly affected by his father’s situation and having lived in the shadow of his brother. There are also excellent supporting performances from Read and Cange as Charley and Bernard, as well as the rest of the cast. It’s a strong ensemble, with every scene crackling with energy and meaning.
In a technical sense, this production also shines, with a detailed period set by Dunsi Dai and meticulous costumes by Daryl Harris that help set and maintain the mid-20th Century look and tone of the story. There’s also striking atmospheric lighting by Jasmine Williams that adds to the intensity when needed and also helps achieve an ethereal tone in the flashback scenes. The only small issue I have with this production is in the acoustics at the Edison Theatre, which I’ve also noticed in previous productions. Especially from the seats further back in the auditorium, it can be harder to hear in some of the quieter moments. Still, the powerful drama takes the lead for the most part, and even with a few small sound issues, the story is clearly told.
Death of a Salesman is already a great play–a well-structured American tragedy that still communicates its message with power decades after it was written. The current production at the Black Rep has managed to find even more depth and nuance to this story, with profoundly affecting performances and incisive direction. It’s another dramatic triumph for this excellent St. Louis theatre company.
Velma Austin, Ron Himes
Photo by Phillip Hamer
The Black Rep
The Black Rep is presenting Death of a Salesman at Washington University’s Edison Theatre until January 29, 2023
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