Following a critically acclaimed run in London, this vibrant and timely production of Arthur Miller’s Death of a Salesman comes to Broadway for 17 weeks only. Olivier Award nominee Wendell Pierce and Olivier Award winner and 2022 Tony nominee Sharon D Clarke reprise their roles as Willy and Linda Loman in a revival told – for the first time on Broadway – from the perspective of an African American family.
A new cast of supporting actors joins the production in New York, featuring Khris Davis and Tony winner André De Shields. Directed by Miranda Cromwell – who won an Olivier Award alongside co-director Marianne Elliott for the West End and Young Vic productions – this powerful interpretation of Miller's classic drama illuminates the dark underbelly of the American Dream and its elusive promise of equality and opportunity for all. Don’t miss the brilliantly reimagined revival The New York Times called "vital and electrifying."
In the present, though, the show is often superb: the scene between Willy and Howard, ruthlessly played by Blake DeLong, is riveting, amplified by unspoken racism as are the scenes with Stanley, played by the same fabulous actor, here taking what's usually a plot functionary and forging a blend of obsequiousness, kindness and racism, all at once. Clarke's monologues are potent, rooted and deeply touching and, as Happy, McKinley Belcher III brings far more to that role than we usually see; in this production, the relationship between Happy and Willy seems more central than between Biff and Willy. And Delaney Williams (also known for 'The Wire') is an honest, earnest Charlie, a decent white guy holding up a Black family in crisis, understanding he's probably next for a cemetery that levels us all.
Miranda Cromwell's revival, based on one she directed in London with Marianne Elliott in 2019, does more than give us Black Lomans - including Khris Davis as Biff and McKinley Belcher III as Happy. It also, crucially, puts them in a largely white world. Willy's employer (Blake DeLong), his neighbor (Delaney Williams) and his mistress (Lynn Hawley) are thus more than foils in the usual sense; like Willy, you can never untangle the personal, economic and now racial threads of their behavior. And even if they aren't bigots, they electrify moments - a card game with the neighbor, a negotiation with the 'boss' - in which Willy's paranoia seems at the same time both fantastical and well founded.
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1984 | Broadway |
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2015 | West End |
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2019 | West End |
Young VIc Revival West End |
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2022 | Broadway |
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Year | Ceremony | Category | Nominee |
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2023 | Drama Desk Awards | Outstanding Direction of a Play | Miranda Cromwell |
2023 | Drama Desk Awards | Outstanding Lead Performance in a Play | Sharon D Clarke |
2023 | Drama Desk Awards | Outstanding Lead Performance in a Play | Wendell Pierce |
2023 | Drama Desk Awards | Outstanding Revival of a Play | Death of a Salesman |
2023 | Drama League Awards | Distinguished Performance Award | Sharon D. Clarke |
2023 | Outer Critics Circle Awards | Outstanding Featured Performer in a Broadway Play | Sharon D Clarke |
2023 | Outer Critics Circle Awards | Outstanding Revival of a Play | Death of a Salesman |
2023 | Tony Awards | Best Actor in a Leading Role in a Play | Wendell Pierce |
2023 | Tony Awards | Best Lighting Design of a Play | Jen Schriever |
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