{"id":10202,"date":"2019-06-25T16:23:49","date_gmt":"2019-06-25T16:23:49","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=10202"},"modified":"2019-07-24T16:41:21","modified_gmt":"2019-07-24T16:41:21","slug":"wendell-pierce-in-death-of-a-salesman-at-the-young-vic","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2019\/06\/25\/wendell-pierce-in-death-of-a-salesman-at-the-young-vic\/","title":{"rendered":"Wendell Pierce in Death of a Salesman at the Young Vic"},"content":{"rendered":"

It\u2019s Theatre Tuesday! Today\u2019s show is Death of a Salesman, playing at <\/em>London<\/em>\u2019s Young Vic until July 13<\/em>.<\/p>\n

We\u2019ve had quite the run of Arthur Miller plays lately. After this year\u2019s decent The American Clock <\/a><\/em><\/span>and meh All My Sons<\/em><\/span><\/a>, it\u2019s time for the most famous of them all, Death of a Salesman<\/em>. DOAS was never my favorite play, maybe because I don\u2019t like death, maybe because it\u2019s so depressing, maybe because being forced to dissect it as a teenager and having my critique of \u2018how can Arthur write all these plays and never once mention that he was married to Marilyn Monroe?\u2019 dismissed was fairly annoying, but it is a classic. I guess I\u2019m supposed to say \u2018it\u2019s a classic for a reason\u2019, even though that\u2019s such a clich\u00e9d line, but it\u2019s true. More than Miller\u2019s other plays, and more than most plays, DOAS pays attention to an ordinary man, Willy Loman, and thereby \u2018the\u2019 ordinary man, with all his frustratingly relatable problems and failures and bad luck. Willy\u2019s wife Linda famously states at one point that her husband is not a great man or the finest character, but he\u2019s a human being. And that\u2019s why \u201cattention must finally be paid to such a person.\u201d Her line states the reason for this play\u2019s longevity, and why it\u2019s still worthwhile.<\/p>\n

In this riveting and heartbreaking production from Marianne Elliott (responsible for the gender-swapped Company<\/em><\/span><\/a>) and Miranda Cromwell, the Loman family is now black, which adds a deeper sense of suffering to the already sympathetic family\u2019s troubles. Instead of seeing all of Willy\u2019s tribulations and failures as the result of unfair, terrible luck, there\u2019s the hint that it\u2019s also the result of racist treatment, which today feels a lot more compelling than feeling sorry for yet another white man. But the universal nature of his collapse remains prominent, with this story of an average man\u2019s average problems continuing to engross audiences. Few other plays more successfully show that you don\u2019t need magical plots or far-fetched characters to achieve magic in the theatre, as the longevity of DOAS shows it\u2019s enough to pay due attention to real life.<\/p>\n

Those of you more familiar with the play are probably like \u201caverage problems, what?\u201d and yes, he is losing his mind and he does die (spoiler) (in the title) because of this not-very-hum-drum problem, but that\u2019s not the most striking aspect of Willy\u2019s plight. His daily shortcomings and his ordinary mediocrity and his unremarkable disappointments are what have kept his story at the pinnacle of theatre for so many decades. And in Wendell Pierce\u2019s shattering performance, that\u2019s what hits hardest, how Willy is a pitiable but common man, one that everyone probably knows in real life. This is a huge feat from Pierce considering how impressive his portrayal of the mental breakdown was throughout the show. His ticks and losses of concentration build subtly, making you more and more uncomfortable and more and more anxious about this poor man. Pierce gives an incredible performance, the kind where you really can\u2019t understand how he can put himself through all that 8 times a week.<\/p>\n

Equally great is Sharon D. Clarke as his wife Linda, which is no surprise since Sharon D. Clarke is great in everything. Her delivery of the aforementioned famous summary of the play reverberated through the room with its significance. She made a relatively small role feel much larger, and any excuse to hear her sing or even hum, as she does a few times, is welcome. As for Biff and Happy, who usually bother me to no end, Arinze Kene and Martins Imhangbe made them come alive. The family\u2019s story was best told through Willy\u2019s flashbacks, shown brilliantly here with slideshow clicks and flashes to represent Willy\u2019s memories taking over the forefront of his mind. This bit of directing was genius.<\/p>\n

The only time the show fell really flat (an accomplishment in its 3 hour length) was in the Act II bar scene, when the Loman men meet a few women and flirt with them. Everything about this scene felt kind of amateur and off, mainly because there\u2019s only so far that basic slinking around with an \u2018ooh aren\u2019t I gorgeous\u2019 gaze can take you. Aside from that, the rest of the cast and really the rest of the show makes for probably the best production of this classic play you can see.<\/p>\n

<\/p>\n

INFORMATION <\/u><\/strong><\/p>\n

The Young Vic run is sold-out, but you can try for rush tickets or cancellations. As is the annoying as all get-out Young Vic tradition, the shows start late as they fill all the empty seats with people from the cancellation line. Otherwise, the play is transferring to the Piccadilly Theatre (current home to The Lehman Trilogy<\/em><\/span><\/a>) on October 24, 2019 until January 4, 2020 so you can buy tickets for that run, although I fear the power of the intimate, small theatre will be missed there.<\/p>\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

It\u2019s Theatre Tuesday! Today\u2019s show is Death of a Salesman, playing at London\u2019s Young Vic until July 13. 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