His family have learned to appease and flatter, keen to maintain his image as a successful self-made man. Gruff, quick-tempered and controlling, Warrington is every bit the patriarch. Inner thoughts and spoken words get equal billing as Loman exerts his gravitational pull. Death of a Salesman’s original title was The Inside of His Head and in this fluid, boundary-free production, where past and present intermingle as easily as the characters slip in and out of view, you can see exactly why. In any production of Arthur Miller’s suburban tragedy, the salesman is orbited by his wife and sons, but in Sarah Frankcom’s in-the-round staging, they can do little else but circle. D on Warrington’s Willy Loman is at the centre of his own universe.
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