Good production, great play: Death of a Salesman at the Piccadilly
Death of a Salesman
Young Vic
Piccadilly Theatre
Stalls S17, £15
27 November 2019
Young Vic page
This is a good production of a great play. Pedantically I resist the idea that it’s a reinvention of the Miller: it feels more to me like the themes of the play apply equally to an African-American family as they do to a white family. But I guess there’s no doubt it’s not what Miller had in mind, so I’m wrong to quibble – and, of course, should only celebrate if the acknowledged success of this production means more follow that foreground black experience.
Directors Marianne Elliott and Miranda Cromwell choose a production that is largely straight. Where it strays is musically: composer and music director Femi Temowo intervenes throughout, with song much more a part of the narrative than it is in the Miller. I’m not sure I buy it. I can see it as a sophisticated extension of tragedy; less happily I suppose it could be a somewhat reductive recognition of spiritual song in African American life. Either way, with the cast they have I don’t think there is any need to up the tragic ante.
My assumption is that part of the reason to foreground music so significantly was to make the most of the gifts of Sharon D. Clarke as Linda. She has an extraordinary voice and gives amazing sung performances throughout. However. You’ll roll your eyes at me for this, but while Clarke’s interpretation is absolutely legitimate I prefer my Lindas a little less noble. Sure, she is wronged, but I think it’s more interesting to have her less of an exclusive victim and more of an active motor in the family’s demise. Adding song to Clarke’s statuesque presence moves her further and further from the option of this reading.
I wasn’t too sure about Wendell Pierce, principally because his positioning of Willy in fidgety agitation I think is difficult to read in theatre. Maybe he could have had a portion of Clarke’s old-school declamation to make me completely clear on the intentionality of what he was doing. I’ve only praise, though, for Some Dirisu as Biff: he looks perfect on stage and speaks with a precision and rhythm that is a delight to hear. Natey Jones is similarly well-cast as Happy, as is the rest of the ensemble.
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