"Mantello's concept invites skepticism. The Lomans no longer inhabit a modest Brooklyn home but a vast, vaguely industrial void—a warehouse, a garage, somewhere in between. A vintage 1960s Chevrolet sits onstage the entire time, an emblem of Willy's life on the road and the mid-century promise of mobility and success."
"The production reinforces this dislocation with costumes that jump decades. Willy, in his business suit, looks frozen in time. Everyone else looks contemporary. Biff and Happy wear gym clothes, chains, and undershirts. Howard reads as a modern corporate type in a fleece vest, casually brushing Willy aside while clutching what might as well be a Starbucks cup."
"Mantello's most effective device is doubling the sons and Bernard with younger actors who appear alongside their adult counterparts. The effect is fluid and haunting, as if memory has taken physical form."
The latest revival of Death of a Salesman, directed by Joe Mantello and starring Nathan Lane, presents a fresh interpretation of Arthur Miller's classic. Set in a vast, industrial space rather than a traditional home, the production emphasizes the psychological landscape of the play. The use of a vintage Chevrolet symbolizes Willy's life and aspirations. Costumes blend eras, highlighting Willy's outdatedness. The doubling of characters with younger actors creates a haunting effect, embodying memory and reinforcing the play's themes of dislocation and time's fluidity.
Read at www.amny.com
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