Wendell Pierce and Sharon D Clarke bring a seismic shift to the new Broadway revival of Arthur Miller's 'Death of a Salesman.'
It’s been a long time coming, but change has finally arrived on Broadway, where for the first time Willy Loman and his family are played by Black actors.
The New York company includes Khris Davis as Biff and McKinley Belcher III as Happy — Willy’s two sons, one a derailed golden boy haunted by his unrealized promise, the other a compulsive philanderer unable to relinquish his juvenile illusions. André De Shields, still riding high from his Tony-winning triumph inpractically levitates as Willy’s brother, Ben, a character who enters the play on a cloud of surreal remembrance.
Miller had contemplated calling the play “The Inside of his Head,” an indication that “Death of a Salesman” isn’t built on a cement foundation of realism. This is a work of memory, shuttling between past and present, as Willy is finally cornered by reality to confront the shame and disappointment he has tried to conceal under a lifetime of bluster.
Bernard , the earnest kid who lives next door to the Lomans, is certainly a throwback to the old neighborhood of the playwright’s youth. He and his father, Charley , are played by white actors, which complicates how we understand the more prosperous background of these characters. The production tosses out provocative ideas but then rebuffs close scrutiny of their relationship to the actual play. We are not meant to ponder in too much granular detail the historical challenges of a Black family in late 1940s New York.
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