New releases from Robert Forster, Self Esteem, and Arve Henriksen
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Resonant dramatic autopsy on the death of the American Dream
Conflicted: Ashley Zhangazha (Biff) and Don Warrington (Willy Loman)
SIMON PARSONS is gripped by a psychological thriller that questions the the power of the state over vulnerable individuals
KEN COCKBURN assesses the art of Ian Hamilton Finlay for the experience of warfare it incited and represents
The bard gives us advance notice of his upcoming medieval K-pop releases
GORDON PARSONS steps warily through the pessimistic world view of an influential US conservative
HENRY BELL takes issue with the assertion that basic income is a remedy for poverty when it doesn’t address the inbuilt inequality of capitalism
RON JACOBS welcomes an investigation of the murders of US leftist activists that tells the story of a solidarity movement in Chile
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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