Gripping Dream — South Coast Rep's 'Death of a Salesman'

Pulitzer-Prize, Tony Award winning South Coast Repertory Theater, OC's shining jewel, one of the nation's top five regional theaters, begins its 50th anniversary season strong, with a gorgeously designed take on Arthur Miller's Death of a Salesman. Ably directed by SCR Artistic Director Marc Masterson, Salesman is a rabbit punch of a drama exploring the soul-wrenching self-destruction of Willy Loman, who (seemingly) failed in his attempt to achieve the "American dream."

The quintessential US dreamer, Willy's biggest problem wasn't that he was too old-fashioned in a rapidly modernizing world; that he worked his whole life and had "nothing" to show for it; that he raised two spiteful, ne'er-do-well sons; that dementia was setting in while he still needed to make a living; or that he was "worth more dead than alive." No, the problem that did Willy in was that he was a liar, more so to himself than anyone else.

Had Willy sought the guidance of "that one salesman" who sparked in him the hope of the American dream, instead of convincing himself that he had all he needed to succeed, perhaps he would have made that dream a reality. Had Willy been faithful to his wife, his son wouldn't have caught him mid-adultery, the event that crushed Biff's spirit, sending him into a downward spiral for the rest of his life. (Willy could never find fault with himself and admit that, so after years of telling himself it was Biff's flunking math that led to his "loser" status, Willy would never repair the relationship.) Had Willy's god not been Mammon, he would've been content with what he had; he wouldn't have had to talk such big game, painting an unattainable picture of himself. Had Willy humbled himself and accepted the job offered by neighbor Charley, instead of believing that life insurance was the only way to pass on an inheritance, everyone would've had a shot at a happy ending.

Charlie Robinson, a 30-year member of the Actors Studio, is heart-breaking as the titular hustler. Aside from over-projecting which quelled some of the nuance in his portrayal, Robinson's creation is powerful and haunting. It's as if you're watching the most brutal part of a wildlife documentary. You'll want to extend your hand, scream out to help poor old Willy as he chooses the wrong path and gets eviscerated by the circle of life. Saddest bit, though, is that were Loman able to see you, he'd slap your hand away, curse you for thinking he needed help. Willy is what happens when rugged individualism becomes a pathological disorder. Robinson captured that beautifully.

Two-time Ovation award-winner Chris Butler was convincing as the young dynamo and middle-aged has-been versions of Biff. Shame, since most of his scenes are played against Larry Bates, who — though excellent as Booth in SCR's Topdog/Underdog — went so far with his 40's player characterization he became a sing-songy distraction in every scene. As longsuffering wife Linda, Kim Staunton was especially moving during the emotional peaks, though seemed to lack motivation during the day-to-day conversation. In fact, the Lomans as a whole were at their best when all four of them were having it out over the kitchen table.

Michael B. Raiford's set design of angular slats, with its skyline murals and invisible doors, provided many interesting opportunities for the action and Brian Lilienthal's beautiful lighting design.

Regarding the "ethnic" casting of a black family in traditionally white roles, it neither helped nor hindered the production's efforts to do justice to Miller's classic text. The universality of Salesman's themes holds true for all races and creeds, even 60+ years later; even in China where Miller staged a production, noting that patriarchal hopes and the defining of masculinity through pecuniary achievement are also inescapable realities.

Death of a Salesman continues at South Coast Repertory Theater until September 29. Get your tickets here, or by calling (714) 708-5555.

* Photos by Debra Robinson/SCR. 
 
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Clybourne Park continues at the Fruechte Performing Arts Center (1601 N Indian Hill Blvd. Claremont, CA 91711) until August 18. Get your tickets here, or by calling (909) 621-1058.
LA theater reviews by LA Theater Critic. - See more at: http://www.latheatercritic.com/2013/08/ophelias-jump-clybourne-park.html#more

Clybourne Park continues at the Fruechte Performing Arts Center (1601 N Indian Hill Blvd. Claremont, CA 91711) until August 18. Get your tickets here, or by calling (909) 621-1058.

LA theater reviews by LA Theater Critic. - See more at: http://www.latheatercritic.com/2013/08/ophelias-jump-clybourne-park.html#more