I sometimes think that plays should follow the way competitive
diving grades its dives, with degrees of difficulties. I’m
reliably informed that a forward two and a half somersaults with
3 twists from a 3-metre springboard has a 3.9 degree of
difficulty, who’d have thought? If this was the case, how, I
wonder, would Death of a Salesman or indeed any Arthur Miller
play be graded? Fairly high, I venture. I acknowledge Jean’s
programme note about the play being ‘a well-written script’ and
indeed it is, as thousands of English students will confirm, but
to bring this classic to life on stage is a difficult challenge
and this team is worthy of great admiration for taking it on.
This production was good, in fact it was
very good! And, like a good dive, was carried out with little or
no splash and made to look easy.
Direction
Congratulations to Jean Cooper for
undertaking this great play. Her programme notes told of a long
association with Death of a Salesman and I got the sense that
this brought a confidence that familiarity provides.
The positioning of the actors around the
stage was thoughtful and well placed. Willy and Linda in the
privacy of their bedroom, behind the bed, in the bed and perched
on the bed, making good use of this ever-present space. The
boys’ bunk beds were sparingly used but made for a good backdrop
and reminder of their similar upbringing despite their different
characters. The centre table had many uses, as did the table
stage right as part of the restaurant and office. The acting
zones were well established for the dreams and time changes and
the extended stage was utilised by all. The lighting design
complemented the setting and, at times, the Lopping Hall stage
appeared bigger than it actually is by good use of the space.
The actors did well with the Brooklyn
accents, which were always present without being distracting.
All the actors were on top of their lines which ensured the
audience could relax and concentrate on following the narrative.
The adjustments for the time periods and
hallucinations were seen but subtle. Just a mood shift or a
lighting change, coupled with the characters changing in voice
and style. On occasions, Willy simply stepped forward 2 or 3
steps into the light downstage to take us back in time or the
return of the pipes and flutes cued a change. There was a lovely
scene in Act 1 where Willy, Bernard and the boys were discussing
Biff’s football playing and Happy had the punch ball. There was
fun and happiness in the air as the dialogue zipped around and
conveyed the optimism of those days.
The transition into the restaurant scene
was well choregraphed with the two tables being set for service
whilst the action and dialogue continued. I do admire this type
of direction, its these little touches that give the production
a high quality. The funeral scene was simple and movingly
presented, following the horror of the crash. A single line of
mourners dressed in black with armbands, Linda on her knees
alone with Willy, and the sound of the pipes from the first
scene returned. Beautifully crafted.
I came away with the impression that every
detail of direction was deliberate and considered, and this
control of the presentation made for a well choregraphed play.
Good work Jean.
Cast
Willy Loman
The 63-year-old Willy Loman is a tragic
hero of American literature. A titan of the theatrical world and
a familiar character known by many and, as with Shakespeare’s
significant roles, it takes courage to tackle this part. Andrew
Rogers has been at the top of his game for the last few years,
taking on some epic parts and his experience and obvious skill
as an actor was put to good use in another first class
performance.
The frustration and anger were evident,
alongside Willy’s fading realisation of his decline. Lines such
as “When did I lose my temper” and “I am Willy Loman” were
tragic. Willy’s relationship with Biff was sufficiently complex,
full of admiration and despair. With Happy there was more
contentment but less ambition
Andrew made the transitions in time
seamlessly. For example, in the scene when the boys were outside
cleaning the car, it appeared at first that Willy was not
talking to anyone. We then realised what was happening and the
appearance of Happy and Biff, with bucket, followed. This
considered development of many of the situations were played
with confidence and care from Andrew who showed Willy being
content in his own company as well as, in the early years,
around his family
We saw a successful salesman who didn’t
need to ‘wait in line’, but could go ‘straight through’ to the
firing of an unwanted employee. Willy’s incredulity of being the
one that ‘people don’t take to’ and laughed at, of losing his
influence, were painful to witness. Willy’s fall into his own
world, with the purchase and planting of the seeds, was
accompanied with a lightness and smile to his face that showed
further character development. The kneeling and speaking out
front to Ben was a poignant moment and a great theatrical
picture. Then a few pages later to the angry Willy of “I’m not
a dime a dozen” returned.
With Andrew’s performance we not only got
delivery of the great Arthur Miller’s lines, but we also got to
see what Willy was thinking. We were taken into Loman’s mind and
saw his fall from pride and ultimately the death of the
salesman. A terrific performance.
Linda
Linda’s welcome of Willy on his first
return from the unsuccessful sales trip, was genuine and
passionate. She showed her long and sincere love for her
husband, despite his fading from grace and his aggression
towards her. Linda was often there to massage Willy’s shoulders
and prepare his food, even whipped cheese. She apologised for
him and made his excuses.
Karen Rogers found a nuanced performance
with the differences between Linda back in the day to weary
Linda who would remain loyal to Willy despite his behaviour
towards her. Her attention to the family expenses was detailed
and appeared to give Linda a joy to be on top of things. Linda
was Willy’s dependable rock and his mediator between him and the
boys. Karen gave us a tough mother trying to keep the family
together by telling the boys “You can’t just come to see me”.
Linda and Willy’s relationship was a
standout highlight of this play, they worked so well together
and found great depth to their understanding of each other. The
sadness was seeing this diminish in Willy and grow in Linda. A
fine performance Karen, well done.
Happy and Biff
The passage of time was most evident in the
two boys. Mannerisms, voice tone and general energy levels were
contrasted well between the children and the young men. Tom
Draper played Happy slightly more animated than his brother
Biff, which gave good contrast. His ambition to be the
‘Merchandising Manager with the downtown apartment and plenty of
women’ characterised his limited outlook and Tom did well to
tell Hap’s story. Nick Bateman did an excellent job portraying
the complex Biff. The athletic, ambitious football player who
flunked Math and stole balls and a suit, who was desperate to
respect his father but witnessed his seedy affair. Nick’s
portrayal of Biff was of one who was never content and searched
to impress his fading father. This was clear as Biff listened to
Willy’s advice on how to behave at the meeting with Bill Oliver.
Nick made it so that Biff was happy and excited to take Willy’s
advice but sadly he didn’t have the strength to see the
opportunity through. Two great parts portrayed with great skill
and understanding.
Bernard
The starkest contrast between young and old
was with the way Nick Charles played Bernard the boy, complete
with those shorts, and Bernard the lawyer. It was the same
character but matured with the passage of time and the benefit
of education. The comparison with Biff was evident and rather
sad. His scene where Willy asks “What’s the secret?” was raw and
absorbing and the tale of the burning of the sneakers was
brutal. Congratulations Nick on a good portrayal.
Charley
Willy’s friend Charley, who was
disrespected as much as he was needed, was a charming character
who enjoyed a game of cards. Howard Platt found an excellent
characterisation as he was doing better than Willy but never
pushed it onto him. He had the grace to offer Willy a job and
bail him out when cash was short without the need to feel
superior. I warmed greatly to Charley the way Howard played him
and a generous character is much needed for the audience in this
intense play
Uncle Ben
The admiration Willy had for his Uncle Ben
was evident and Daryl Kane played the part without malice or
arrogance but with words of wisdom for the hopeful Willy. He
looked rich and different from the others in the wonderful hat,
coat and waistcoat. Always carrying his leather bag as if he was
just off somewhere. Daryl played this representation of the
American Dream in Willy’s thoughts, with calm power and
confidence, always a smile and motivational thoughts. As Ben
built property and diamond mines, Willy built up the stoop in
front of his house. This was a good portrait of an interesting
part and it was great to see Daryl on the Lopping Hall stage.
Howard Wagner
Christian Mortimer made a significant
impact on the story as the charismatic son of the founder of
Wagners. In a striking light grey suit and matching tie, his
mind was distracted by the new recording machine and what it
could do. This was more important to him than the wellbeing of
his employee of 34 years. Perched on the table with Willy sat
below Howard, it was clear who was in charge and when he told
Willy he needs “a good long rest” we felt Howard had shattered
Willy’s world.
The Woman, Jenny, Stanley, Miss
Forsythe, Letta
Anjali Johnson gave a good cameo as The
Woman lit with the red light down stage right and the blues
music, to the hotel bedroom, and all for some nylons. Laura
Pickering’s Jenny, Natalie Hayes’ Letta, Sekai Mulwanda’s Miss
Forsythe with her manicured hairstyle, were all strong cameos
that brought interesting characters to the play and enabled the
others to react with and against them. Cathal Connolly brought a
lightness with Stanley the waiter that provided some smiles to
the restaurant scene.
Set Design
An impressionistic set, simple and
understandable, working in unison with the lighting. The blue
and grey colours gave it a theme. The window frames overlooking
from on high and the artwork of bricks and fire escapes on the
flat downstage left illustrating the line and sentiment, “The
way they boxed us in here. Bricks and windows, windows and
bricks”. The free-standing door was put to good use as the
actors deliberately walked around to the outside to come back
through it. The exits from both bedrooms upstage were useful
without being obvious. The double bed and bunk beds were away
from the action space but gave the background of this home. Good
to see period sheets and blankets used.
Wardrobe
All the characters looked striking with
period clothes. Linda’s wig was large with the grey showing
through. Linda also donned a striking green coat. Seamed
stockings for Linda and others were a nice detail and the
three-piece suits for the men fitted well and looked fantastic,
especially Howard Wagner’s light grey and Charley’s brown
stripped. The shoes matched and the homburg hats set the time
and place.
Sound and Lighting
The pipes and flutes of melancholic
incidental music floated as a background around some of the
scenes. For Willy’s first entrance the music had a sense of
mystery even haunting, giving an air of appropriate unease
rather than relaxing the audience. These pipes and flutes hung
over the play returning at the end for the funeral.
A full rig of lights appeared to have been
in operation and Terry Tew’s experience and knowledge of Lopping
Hall showed in a tremendous design. It’s great to see Terry
still involved with LADS and Lopping Hall, it must be over 40
years now Terry? This design added much to the play and enabled
the audience to track the changes of time with little conscious
effort.
Summary
I was really impressed by this production
and, in a recent run of quality plays, Death of a Salesman was a
standout. I’m sure everyone had to work hard to make this great
but challenging play such a success, but for your audience that
hard work was worthwhile. A leap from the high board may have a
high degree of difficulty, but when it all comes together, the
sense of achievement should be richly enjoyed.
Paul Daynes
NODA Regional Representative London District 6
Paul.Daynes@noda.org.uk
