Arthur Miller's Enduring Relevance

As Arthur Miller’s plays experience a surge in popularity across Los Angeles, New York, and London, recent productions reveal a striking contrast in their impact. While some revivals capture the playwright’s moral intelligence and insightful commentary, others struggle to connect with contemporary audiences.

A Thriving 'The Price'

A particularly successful production is currently running at Pacific Resident Theatre: a small, exquisitely acted staging of Miller’s 1968 play, “The Price.” Set during the Vietnam War, the play centers on two estranged brothers and an 89-year-old appraiser as they attempt to assess the value of their deceased father’s belongings.

Unearthing Family History

As the characters evaluate antiques and personal effects left behind by a casualty of the Great Depression, buried family history resurfaces. Miller masterfully connects the past and present, intertwining personal conflicts with broader societal systems. Director Elina de Santos’ production thrives on the intimacy of the stage, with a cast deeply invested in their roles and attentive to the nuances of the script.

Fancy, who has previously appeared in Miller’s works at PRT, delivers a scene-stealing performance as Gregory Solomon, the shrewd appraiser. The dynamic between the brothers, Victor (a police officer) and Walter (a doctor), is particularly compelling, fueled by resentment and guilt. Esther, Victor’s wife, provides a grounded perspective amidst the emotional turmoil.

'Death of a Salesman' Disappoints

In contrast, a new revival of Miller’s masterpiece, “Death of a Salesman,” at A Noise Within has fallen short of expectations. Directed by Julia Rodriguez-Elliott, the production is criticized for feeling “deracinated” and lacking a palpable sense of place. The set design fails to establish a convincing Brooklyn setting.

Performances Lack Grounding

Geoff Elliott’s portrayal of Willy Loman is described as unconvincing, with shifting accents that fail to capture the character’s essence. Other performances, including those of Deborah Strang as Linda Loman and Ian Littleworth as Happy, also appear unsettled. While David Kepner as Biff delivers a more centered performance, the production’s overall placelessness limits his ability to fully explore the character’s emotional depth.

Despite the shortcomings, the production serves as a reminder of Miller’s warning against the “salesman ethos” – the belief that connections and superficial charm outweigh skill and hard work. However, the lack of a fully realized world onstage hinders the play’s emotional impact.

Miller's Legacy Continues

Miller’s plays continue to resonate with audiences due to their exploration of universal themes and their ability to illuminate the complexities of the American experience. Upcoming productions, including a new revival of “Death of a Salesman” on Broadway starring Nathan Lane and Laurie Metcalf, and a staging of Kimberly Belflower’s “John Proctor Is the Villain” at the Mark Taper Forum, demonstrate the enduring power of his work. His dramas, often contrasted with those of Tennessee Williams, offer a unique blend of social realism and emotional depth, examining the interplay between individual lives and the societal forces that shape them.