In capturing the torment of the American Dream, Arthur Miller's Death of a Salesman delves deep into a family's life and examines the numerous troubles that plague them. There is the fear of growing old and becoming replaceable in a society that values youth and productivity. The pain of severed relationships haunts the characters, leaving them feeling isolated and alone. Expectations that are never met weigh heavily on their shoulders, causing disappointment and a sense of failure. And the experience of losing, whether it be a job, a dream, or a loved one, adds to their already burdensome existence.
Whilst I did not connect with this play as strongly as I would have liked, there is no denying Miller's remarkable talent. His ability to create complex and flawed characters, and to explore the depths of human emotion, is truly impressive. Death of a Salesman is no happy story. Instead, it offers a brutal and unflinching look at lives that are filled with disappointment, frustration, and unfulfilled potential. All hope seems to be squashed, leaving the characters in a state of despair. Yet, through it all, Miller manages to find moments of beauty and poignancy, making this play a powerful and unforgettable exploration of the human condition.
I truly believe that I would have relished the opportunity of seeing this play performed live in person, as opposed to simply reading the script. This play is renowned as one of the greatest American plays ever penned, and I am certain that witnessing it on stage would offer a completely distinct experience. However, as things stand, I only had the chance to read the script, and I must admit that I was left disappointed. I understand that I was expected to feel sympathy for the characters, but in order to do that, I first had to develop an affinity for them, which unfortunately did not occur. Willy struck me as being rather thick-headed, his sons seemed like complete morons, and Linda was so entirely useless that when I had to compose a paper on this play for my English class, I described her as "little more than a talking prop."
Then there is the character of Happy. Early in the script, in the stage directions, he is described as being "tall, powerfully made. Sexuality is like a visible color on him, or a scent that many women have discovered." When I read this, I casually glanced at the book's cover, which featured a photograph of the original 1949 cast. Locating Happy, I was mildly astonished to discover that whoever was responsible for casting the original performance of Death of a Salesman had decided that a man for whom "sexuality is like a visible color on him" would evidently need to be depicted as a middle-aged man with frizzy receding hair and pants hiked up to his ribcage. Hot indeed!
Read for: Surviving the American Dream