Death of a Salesman
Template:Short description Template:About Template:Use American English Template:Use mdy dates Template:Infobox play
Death of a Salesman is a 1949 stage play written by the American playwright Arthur Miller. The play premiered on Broadway in February 1949, running for 742 performances. It is a two-act tragedy set in late 1940s Brooklyn told through a montage of memories, dreams, and arguments of the protagonist Willy Loman, a travelling salesman who is despondent with his life and appears to be slipping into senility. The play addresses a variety of themes, such as the American Dream, the anatomy of truth, and infidelity. It won the 1949 Pulitzer Prize for Drama and Tony Award for Best Play. It is considered by some critics to be one of the greatest plays of the 20th century.<ref>Template:Cite web</ref> The play is included in numerous anthologies.
Since its premiere, the play has been revived on Broadway five times, winning three Tony Awards for Best Revival. It has been adapted for the cinema on ten occasions, including a 1951 version by screenwriter Stanley Roberts, starring Fredric March. In 1999, New Yorker drama critic John Lahr said that with 11 million copies sold, it was "probably the most successful modern play ever published."<ref name=":2">Template:Cite magazine</ref>
Background
[edit]The genesis of the play was a chance encounter between Miller and his uncle Manny Newman, a salesman, whom he met in 1947 in the lobby of a Boston theater that was playing All My Sons.<ref name=":2" /> Writing in a critical study of the play, author Brenda Murphy observed that Manny "lodged in his imagination and created a dramatic problem that he felt compelled to solve."<ref name=":0" />
Miller later recounted that when he saw Manny at the theater, "I could see the grim hotel room behind him, the long trip up from New York in his little car, the hopeless hope of the day's business." Without acknowledging Miller's greeting or congratulating him on the play, Manny said "Buddy is doing very well."<ref name=":2" /> Buddy was Manny's son, and Manny saw Miller and his older brother as "running neck and neck" with his two sons "in some race that never stopped in his mind." When visiting Manny as a youth, Miller felt "gangling and unhandsome" and usually heard "some kind of insinuation of my entire life's probable failure."<ref name=":1">Template:Cite news</ref> Seeing him again in Boston, Manny seemed to the playwright to be "so absurd, so completely isolated from the ordinary laws of gravity, so elaborate in his fantastic inventions," yet so much in love with fame and fortune that "he possessed my imagination."<ref name=":0">Template:Cite book</ref> Manny died by suicide soon after,<ref name=":1" /> which was the cause of death of two other salesmen Miller had known. One of Manny's sons told Miller that Manny had always wanted to create a business for his two sons. Learning that transformed Manny, in Miller's mind, to "a man with a purpose."
Miller had been thinking about a play about a salesman for years. He also had new interest in the simultaneousness of the past and present that was evident at their meeting, as it was plain that he and his cousins were viewed by Manny as they were when they were adolescents, many years earlier. Miller sought to "do a play without any transitions at all, dialogue that would simply leap from bone to bone of a skeleton that would not for an instant cease being added to, an organism as strictly economic as a leaf, as trim as an ant."<ref name=":0" />
In creating Willy and the other characters, Miller also drew on his relationship with his father as well as another salesman. Miller was himself the model of the young Bernard.<ref name=":0" />
Plot
[edit]The play takes place in 1949. The setting is the Loman home in Brooklyn,<ref>Template:Cite book</ref> located amidst a typical row of urban apartment buildings.
Willy Loman suddenly returns home in the middle of the night exhausted after a failed business trip to Boston. Worried over Willy's rapidly declining state of mind and a recent near fatal car accident, his wife Linda suggests that he ask his boss, Howard, to allow him to work in his home city so he will no longer have to travel. Willy complains to Linda about their son, Biff, who is 34 years old and has yet to do something meaningful with his life. Despite Biff having a promising football career in high school with many scholarship offers, he failed in mathematics and was therefore unable to enter a university and spent years drifting around the Western United States working many odd jobs with no clear goal.
Biff and his younger brother, Happy, who is temporarily staying with Willy and Linda after Biff's unexpected return from the West, reminisce about their childhood together. They discuss their father's mental degeneration, which they have witnessed in the form of his constant indecisiveness and daydreaming about the boys' high school years. Eventually, Willy walks in, angry that the two boys have never amounted to anything. In an effort to pacify their father, Biff and Happy tell him that Biff plans to make an ambitious business proposition the next day.
The next day, Willy goes to Howard’s office for a non-traveling job in town while Biff goes to make a business proposition, but they both fail. Howard staunchly refuses to give Willy a New York job, despite his desperate pleas and ignoring Willy's 34 years of devotion to the company. Willy then loses his temper and ends up getting fired when Howard tells him that he needs a long rest and is no longer allowed to represent the Wagner Company. On the other hand, Biff waits hours to see a former employer named Bill Oliver who does not remember him and turns him down. In response Biff, feeling crushed, impulsively steals a fountain pen. Willy then goes to the business office of his neighbor Charley, where he runs into Charley's son Bernard, who is now a successful lawyer about to argue a case in front of the Supreme Court and is happily married and has two children of his own. Bernard tells him that Biff originally wanted to go to summer school to make up for failing math, but something happened in Boston when Biff went to visit his father that changed his mind. Charley then offers Willy a stable do-nothing job, but Willy vehemently refuses despite losing his job. Charley, who feels insulted, reluctantly gives the now-unemployed Willy money to pay off his life-insurance premium, and Willy shocks Charley by remarking that ultimately, a man is "worth more dead than alive."
Happy, Biff, and Willy meet for dinner at a restaurant called Frank's Chop House, but Willy refuses to hear the bad news from Biff and constantly interrupts. Happy tries to coax Biff to lie to their father. Biff angrily tries to tell him what actually happened as Willy gets frustrated, withdraws to the restaurant’s bathroom, and slips into a flashback of what happened in Boston the day Biff came to see him: Biff had come to Boston to ask Willy to convince his teacher to curve his failing math grade, so he could graduate. However, Willy was in the middle of an extramarital affair with a receptionist named Miss Francis when Biff arrived unexpectedly, and saw the half-dressed woman with him. Biff did not accept his father's cover-up story for her presence, and angrily dismissed him as a liar and a fake before storming out. From that moment, Biff's views of his father changed and set him adrift.
Biff leaves the restaurant in frustration, followed by Happy flanked by a pair of attractive women named Miss Forsythe and Letta, leaving a confused and devastated Willy behind. When they later return home, Linda scolds them for abandoning their father while Willy remains outside, talking to himself. Biff tries to reconcile with Willy, but the discussion quickly escalates into emotional conflict. Biff conveys plainly to his father that he is not meant for anything great, insisting that both of them are simply ordinary men meant to lead ordinary lives. The argument reaches an apparent climax as Biff hugs Willy and begins to cry as he tries to get Willy to let go of his unrealistic expectations. Rather than listen to what Biff actually says, Willy appears to believe his son has forgiven him and will follow in his footsteps, and after Linda goes upstairs to bed, lapses one final time into a hallucination, thinking he is talking to his long-dead wealthy brother Ben. In Willy's mind, Ben "approves" of the scheme Willy has dreamed up to take his own life in order to give Biff his life insurance money to help him start a business and that his funeral will be well attended with all his admirers which will leave Biff feeling “thunderstruck”. Willy then promptly exits the house, and Biff and Linda cry out in despair as the sound of Willy's car blares up and fades out. The car crashes and Willy instantly dies.
The final scene takes place at Willy's funeral. Linda and Happy stand in surprise after Willy’s funeral is sparsely attended only by his family, Charley, and Bernard (who does not speak during the scene). Biff upholds his belief that he is no longer interested in becoming a businessman like his father and decides to drift away. Happy, on the other hand, chooses to follow in his father's footsteps. Linda who is liberated from her financial burdens begins to sob, repeating “We’re free. . . .” All exit, and the curtain falls.
Characters and cast
[edit]Notable casts
- William "Willy" Loman: The titular salesman. The product he is selling is never disclosed and is likely up to the imagination of the audience.<ref name=":2" /> He is 63 years old, unstable, insecure, and self-deluded. He vacillates between different eras of his life throughout the play, and re-imagines them as if they were the present. Willy's age and deteriorating mental state make him appear childlike. His first name, Willy, reflects this childlike aspect as well as sounding like the question "Will he?"
- Linda Loman: Willy's loyal and loving wife. Linda is supportive and docile when Willy talks unrealistically about hopes for the future, although she seems to have a good knowledge of what is really going on. She chides her sons, particularly Biff, for not helping their father, and supports Willy even though Willy treats her poorly. She is the first to realize that Willy is contemplating suicide at the beginning of the play.
- Biff Loman: Willy's elder son. Biff had a promising high school football career but failed math his senior year and dropped out of summer school when he saw Willy having an affair with another woman. He wavers between going home to try to fulfill Willy's dream for him as a businessman or ignoring his father by going West to be a farmhand where he feels happy. Biff steals because he wants evidence of success, even if it is false evidence.
- Harold "Happy" Loman: Willy's younger son. He has lived in the shadow of his older brother Biff, but he still tries to be supportive toward his family. He has a restless lifestyle as a womanizer and ambitions of career advancement. He takes bribes at work. He yearns for approval from his parents, but he rarely gets any. He makes things up for attention, such as repeatedly telling his parents he is going to get married. His relationship with Linda is turbulent; she looks down on him for his lifestyle.
- Charley: Willy's wisecracking yet kind neighbor. He frequently lends Willy money and plays cards with him, although Willy treats him poorly. Willy is envious of him because his son is more successful than Willy's. Throughout the play Charley offers Willy a stable do-nothing job but Willy declines every time even after Willy looses his job near the end of the play.
- Bernard: Charley's son. In Willy's flashbacks, he is a nerd, and Willy forces him to give Biff test answers. Later, he is a successful lawyer, married, and expecting a second son – the same successes that Willy wants for his sons.
- Ben: Willy's deceased estranged older brother, a diamond tycoon. Though long dead, Willy frequently “speaks” to him in his hallucinations. He represents Willy's idea of the American Dream success story, and is shown in flashback scenes visiting the Lomans' house while on business trips to share stories.
- The Woman: A woman, whom Willy calls "Miss Francis", with whom Willy cheated on Linda.
- Howard Wagner: Willy's boss and the owner of the Wagner Company. Willy worked originally for Howard's father Frank whom Willy greatly admired and claims to have suggested the name Howard for his newborn son. After Howard’s father died before the events of the play, Howard inherited the company. In contrast to his father, Howard, ignoring the fact that Willy has devoted 34 years to the firm, sees Willy as nothing but a liability for the company and eventually fires him when Willy loses his temper over Howard refusing to give Willy a non-traveling New York job. Howard is extremely proud of his wealth, which is manifested in his new wire recorder, and of his family.
- Jenny: Charley's secretary.
- Stanley: A waiter at the restaurant Frank’s Chop House who seems to be friends or acquainted with Happy.
- Miss Forsythe: A girl whom Happy picks up at the restaurant. She is attractive and claims to have had her picture on several magazine covers even though she is actually a prostitute. Happy lies to her, portraying himself and Biff as important and successful individuals by saying that Biff is a star quarterback for the New York Giants and he is a successful champagne salesman and a West Point graduate.
- Letta: Miss Forsythe's friend.
Themes
[edit]Reality and illusion
[edit]Reality and illusion are prominent themes in Death of a Salesman. The play uses flashbacks to present Willy's memories, but it is unclear whether they are accurate. He makes up lies about his and Biff's success. The more he indulges in the illusion, the harder it is for him to face reality. Biff realizes the problem and wants to face the truth. In this conflict, the play shows how the American Dream could be a lie.<ref>Template:Cite book</ref>
Tragedy
[edit]In several statements, Miller compared the play's characters to Greek tragedy. Miller wanted to show that the common man and those with status had much in common.<ref>Template:Cite news</ref><ref>Template:Cite journal</ref>
Writing in The New York Times in 1999, journalist John Tierney argued that the play was not constructed like a classical tragedy. He observed that the mental illness suffered by Loman was a "biochemical abnormality" that was "not the sort of tragic flaw that makes a classic play." But he noted that "Willy's fate is supposed to be partly a result of his own moral failings, in particular the adulterous affair [...], he is haunted by the memory of his infidelity and by the fear that it ruined his son's life."<ref name=":1" />
Reception
[edit]In the United States
[edit]Death of a Salesman first opened on February 10, 1949, to great success. Drama critic John Gassner wrote that "the ecstatic reception accorded Death of Salesman has been reverberating for some time wherever there is an ear for theatre, and it is undoubtedly the best American play since A Streetcar Named Desire."<ref name="Studies in Death of a Salesman">Template:Cite book</ref> Eric Bentley saw the play as "a potential tragedy deflected from its true course by Marxist sympathies."<ref name="Studies in Death of a Salesman" />
In the United Kingdom
[edit]The play opened in London on July 28, 1949. British responses were mixed, but mostly favorable. The Times criticized it, saying that "the strongest play of New York theatrical season should be transferred to London in the deadest week of the year." Eric Keown, theatre critic of Punch, praised the production for its "imagination and good theatre-sense", noting that "Mr. Elia Kazan makes a complicated production seem extraordinarily natural."<ref name="Studies in Death of a Salesman" />
In Germany
[edit]The play was hailed as "the most important and successful night" in Hebbel Theater in Berlin Template:When. It was said that "it was impossible to get the audience to leave the theatre"Template:By whom at the end of the performance.<ref name="Studies in Death of a Salesman" />
In India
[edit]Compared to Tennessee Williams and Samuel Beckett, Arthur Miller and his Death of a Salesman were less influential. Rajinder Paul said that "Death of a Salesman has only an indirect influence on Indian theatre."<ref name="Studies in Death of a Salesman" /> However, it was translated and produced in Bengali as Template:'Pheriwalar MrityuTemplate:' by the theater group Nandikar. Director Feroz Khan adapted the play in Hindi and English by the name "Salesman Ramlal" played by Satish Kaushik, the son was portrayed by Kishore Kadam.<ref>Template:Cite news</ref><ref>Template:Cite web</ref>
In China
[edit]Arthur Miller directed the play himself in China, stating that it was easier for the Chinese public to understand the relationship between father and son because "One thing about the play that is very Chinese is the way Willy tries to make his sons successful." Many traditional Chinese fathers want their sons to be 'dragons.'<ref>Template:Cite book</ref>
Productions
[edit]The original Broadway production was produced by Kermit Bloomgarden and Walter Fried. The play opened at the Morosco Theatre on February 10, 1949, closing on November 18, 1950, after 742 performances. The play starred Lee J. Cobb as Willy Loman, Mildred Dunnock as Linda, Arthur Kennedy as Biff, Howard Smith as Charley and Cameron Mitchell as Happy. Albert Dekker and Gene Lockhart later played Willy Loman during the original Broadway run. It won the Tony Award for Best Play, Best Supporting or Featured Actor (Arthur Kennedy), Best Scenic Design (Jo Mielziner), Producer (Dramatic), Author (Arthur Miller), and Director (Elia Kazan), as well as the 1949 Pulitzer Prize for Drama and the New York Drama Critics' Circle Award for Best Play. Jayne Mansfield performed in a production of the play in Dallas, Texas, in October 1953. Her performance in the play attracted Paramount Pictures to hire her for the studio's film productions.<ref>Sullivan, Steve. Va Va Voom, General Publishing Group, Los Angeles, California, p.50.</ref>
The play has been revived on Broadway five times:
- June 26, 1975, at the Circle in the Square Theatre, running for 71 performances. George C. Scott starred as Willy.
- March 29, 1984, at the Broadhurst Theatre, running for 97 performances. Dustin Hoffman played Willy. In a return engagement, this production re-opened on September 14, 1984, and ran for 88 performances. The production won the Tony Award for Best Revival and the Drama Desk Award for Outstanding Revival.
- February 10, 1999, at the Eugene O'Neill Theatre, running for 274 performances, with Brian Dennehy as Willy. The production won the Tony Award for: Best Revival of a Play; Best Actor in Play; Best Featured Actress in a Play (Elizabeth Franz); Best Direction of a Play (Robert Falls). This production was filmed.
- February 13, 2012, at the Ethel Barrymore Theatre, in a limited run of 16 weeks. Directed by Mike Nichols, Philip Seymour Hoffman played Willy, Andrew Garfield played Biff, Linda Emond played Linda, and Finn Wittrock played Happy.<ref>Gans, Andrew."Starry Revival of Arthur Miller's 'Death of a Salesman' Opens on Broadway" Template:Webarchive playbill.com, March 15, 2012</ref>
- September 17, 2022, at the Hudson Theatre, for a limited engagement of 17 weeks. Directed by Miranda Cromwell, Wendell Pierce played Willy, Sharon D. Clarke played Linda, Khris Davis played Biff, André De Shields played Ben, and McKinley Belcher III played Happy. Pierce and Clarke reprised their roles from the 2019–20 West End production.<ref>Template:Cite web</ref>
It was also part of the inaugural season of the Guthrie Theater in Minneapolis, Minnesota in 1963.
The title role was performed at the Playhouse Theatre (Perth) in March 1979 by Warren Mitchell under the direction of Stephen Barry. In September 1979, Mitchell reprised the role for the Royal National Theatre in London. "It was a performance that won him both an Evening Standard Award and an Olivier and was highly praised by Peter Hall (director), while Arthur Miller reportedly described the turn as one of the best interpretations of the part he had ever seen."<ref>Template:Cite web</ref><ref>Template:Cite web</ref>
Christopher Lloyd portrayed Willy Loman in a 2010 production by the Weston Playhouse in Weston, Vermont, which toured several New England venues.<ref>Template:Cite news</ref>
Antony Sher played Willy Loman in the first Royal Shakespeare Company production of the play directed by Gregory Doran in Stratford-upon-Avon in the spring of 2015, with Harriet Walter as Linda Loman. This production transferred to London's West End, at the Noël Coward Theatre for ten weeks in the summer of 2015. This production was part of the centenary celebrations for playwright Arthur Miller.<ref>Template:Cite news</ref>
The play ran from 24 October 2019 until 4 January 2020 at the Piccadilly Theatre in London, starring Sharon D. Clarke and Wendell Pierce.<ref>Template:Cite web</ref>
Anthony LaPaglia starred as Loman in the Australian production at Her Majesty's Theatre, Melbourne in the spring of 2023 and Theatre Royal Sydney in the winter of 2024. The play was directed by Neil Armfield. The cast included Alison Whyte as Linda Loman, Josh Helman as Biff Loman, and Ben O’Toole as Happy. The production opened to positive reviews in both cities.<ref>Template:Cite web</ref><ref>Template:Cite web</ref><ref>Template:Cite web</ref>
David Hayman played Willie Loman in a Trafalgar Theatre production directed by Andy Arnold which toured the United Kingdom and Ireland in the spring of 2025.<ref>Death of a Salesman theatre programme, Festival Theatre, Edinburgh, March 2025</ref>
Paul Mescal will portray Biff Loman in a National Theatre production in 2027.<ref>Template:Cite web</ref>
Adaptations in other media
[edit]Template:More citations needed section
- 1951: American film adapted by Stanley Roberts and directed by László Benedek, who won the Golden Globe Award for Best Director. Nominated for Academy Awards for Best Actor in a Leading Role (Fredric March), Best Actor in a Supporting Role (Kevin McCarthy), Best Actress in a Supporting Role (Mildred Dunnock), Best Cinematography, Black-and-White, and Best Music, Scoring of a Dramatic or Comedy Picture.<ref>Template:Cite web</ref>
- 1960: Soviet film, directed by Theodore Wolfovitch as You Can't Cross the Bridge.
- 1961: Swedish film En Handelsresandes död starring Kolbjörn Knudsen and directed by Hans Abramson (in Swedish).<ref>Template:Cite book</ref>
- 1968: German film Der Tod eines Handlungsreisenden starring Heinz Rühmann and directed by Gerhard Klingenberg.
- 1966 (CBS): TV film starring Lee J. Cobb, Gene Wilder, Mildred Dunnock, James Farentino, Karen Steele, and George Segal and directed by Alex Segal.
- 1966 (BBC): TV film starring Rod Steiger, Betsy Blair, Tony Bill, Brian Davies, and Joss Ackland and directed by Alan Cooke.
- 1979: Swedish film En Handelsresandes död starring Carl-Gustav Lindstedt and directed by Bo Widerberg (in Swedish).
- 1985: American film starring Dustin Hoffman, Kate Reid, John Malkovich, Stephen Lang, and Charles Durning and directed by Volker Schlöndorff.
- 1996: British TV film starring Warren Mitchell, Rosemary Harris, Iain Glen, and Owen Teale and directed by David Thacker.
- 2000: American TV film starring Brian Dennehy, Elizabeth Franz, Ron Eldard, Ted Koch, Howard Witt, and Richard Thompson and directed by Kirk Browning.
- 2008: Play within the American film Synecdoche, New York, starring Philip Seymour Hoffman.
- 2015: Radio drama, starring David Suchet and Zoë Wanamaker, directed by Howard Davies, and broadcast on BBC Radio 3.<ref>Template:Cite web</ref>
- 2016: Play within the Iranian/French film The Salesman (Forushande), acting as counterpoint to the main plot. Starring Shahab Hosseini, Taraneh Alidoosti, Babak Karimi, and directed by Asghar Farhadi.
Works inspired by the play or its productions
[edit]- Salesman in Beijing (1984) by Arthur Miller, with photos by wife Inge Morath, recounts his experience directing the play for Beijing People’s Art Theatre in 1983.<ref name=":3" />
- Wife of a Salesman (2022) by Eleanor Burgess, received its world premiere at the Writers Theatre (Glencoe, Illinois) in a joint production with Milwaukee Repertory Theater.<ref>Template:Cite web</ref><ref>Template:Cite web</ref> The play's premise is that Linda Loman confronts a woman with whom Willy is having an affair.<ref>Template:Cite web</ref>
- Salesman in China – by Leanna Brodie and Jovanni Sy had its world premiere as part of the Stratford Festival's 2024 season.<ref>Template:Cite web</ref> It covers the 1983 Beijing People's Art Theatre production and is performed in English and Chinese, with subtitles in both languages.<ref name=":3">Template:Cite web</ref>
Awards and nominations
[edit]Original Broadway production
[edit]| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 1949 | Tony Awards | Best Play | Template:Won | |
| Best Author of a Play | Arthur Miller | Template:Won | ||
| Best Producer of a Play | Kermit Bloomgarden & Walter Fried | Template:Won | ||
| Best Featured Actor in a Play | Arthur Kennedy | Template:Won | ||
| Best Director | Elia Kazan | Template:Won | ||
| Best Scenic Design | Jo Mielziner | Template:Won | ||
| New York Drama Critics' Circle | Best American Play | Arthur Miller | Template:Won | |
| Theatre World Award | Cameron Mitchell | Template:Won | ||
| Pulitzer Prize | Drama | Arthur Miller | Template:Won | |
1975 Broadway production
[edit]| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 1976 | Tony Award | Best Actor in a Play | George C. Scott | Template:Nom |
1984 Broadway production
[edit]| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 1984 | Tony Awards | Best Revival of a Play | Template:Won | |
| Drama Desk Award | Outstanding Revival | Template:Won | ||
| Outstanding Actor in a Play | Dustin Hoffman | Template:Won | ||
| Outstanding Featured Actor in a Play | John Malkovich | Template:Won | ||
| David Huddleston | Template:Nom | |||
| Outer Critics Circle Award | Outstanding Revival | Template:Won | ||
| Outstanding Debut Performance | John Malkovich | Template:Won | ||
1999 Broadway production
[edit]2012 Broadway production
[edit]2019 West End production
[edit]| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 2019 | Critics' Circle Theatre Award<ref>Template:Cite web</ref> | Best Actress | Sharon D. Clarke | Template:Won |
| Evening Standard Theatre Award<ref>Template:Cite web</ref><ref>Template:Cite web</ref> | Best Actor | Wendell Pierce | Template:Nom | |
| Best Director | Marianne Elliott and Miranda Cromwell | Template:Nom | ||
| 2020 | Laurence Olivier Award<ref>Template:Cite web</ref> | Best Revival | Template:Nom | |
| Best Actor | Wendell Pierce | Template:Nom | ||
| Best Actress | Sharon D. Clarke | Template:Won | ||
| Best Actor in a Supporting Role | Arinzé Kene | Template:Nom | ||
| Best Director | Marianne Elliott and Miranda Cromwell | Template:Won | ||
2022 Broadway revival
[edit]| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 2023 | Tony Awards | Best Actor in a Play | Wendell Pierce | Template:Nom |
| Best Lighting Design of a Play | Jen Schriever | Template:Nom | ||
| Drama Desk Awards<ref>Template:Cite web</ref> | Outstanding Revival of a Play | Template:Nom | ||
| Outstanding Direction of a Play | Miranda Cromwell | Template:Nom | ||
| Outstanding Lead Performance in a Play | Sharon D. Clarke | Template:Nom | ||
| Wendell Pierce | Template:Nom | |||
| Drama League Awards<ref>Template:Cite web</ref> | Distinguished Performance Award | Sharon D. Clarke | Template:Nominated | |
| Outer Critics Circle Award<ref>Template:Cite web</ref> | Outstanding Revival of a Play (Broadway or Off-Broadway) | Template:Nominated | ||
| Outstanding Featured Performer in a Broadway Play | Sharon D. Clarke | Template:Nominated | ||
References
[edit]Further reading
[edit]Editions
[edit]- Miller, Arthur Death of a Salesman (Harmondsworth: Penguin Books, 1996) Template:ISBN. Edited with an introduction by Gerald Weales. Contains the full text and various critical essays.
Criticism
[edit]External links
[edit]Template:Commons category Template:Wikiquote
- Death of a Salesman Summary
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- Character Analysis of Willy Loman Template:Webarchive
- Character Analysis of Linda Loman Template:Webarchive
- Template:Webarchive, by Joyce Carol Oates
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