GEOFF BOTTOMS relishes a profoundly human portrait of a family as it evolves across 55 years in Sheffield
Resonant dramatic autopsy on the death of the American Dream
Conflicted: Ashley Zhangazha (Biff) and Don Warrington (Willy Loman)
[Johan Persson]
PAUL DONOVAN applauds an excellently crafted new musical that explores the life and death of Ruth Ellis
PAUL DONOVAN is tickled by the excruciating take-downs of one of the funniest, wittiest, political writers around.
RON JACOBS points out, via a transcription of Kissinger’s secret recordings, that Trump could never have existed without Nixon and Kissinger
ELLIS RAE is persuaded that the advantages of the ‘talking cure’ are superior to the treatment of mental illness with drugs
JOHN GREEN, MICHAL BONCZA and BELLA KATZ review The Good Boy, Broken English, and Don't Be Prey
Death of a Salesmen
Royal Exchange Theatre, Manchester
MILLIONS of US citizens believe that the their constitution enshrines the right of “every citizen to achieve success and prosperity through hard work, determination and individual initiative.”
But the reality of the American Dream is very different. Achieving it is exclusively for the 1 per cent.
Willy Loman, the poor schmuck at the centre of Arthur Miller’s Death of a Salesman, is determined, works hard and instils in his sons the importance of achieving success. Yet, after 36 years criss-crossing New England trying to sell whatever wares his bosses want sold, his reward is to be reduced to earning his corn through commission only.
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