LA PLATA, Md. – Although not unheard of, it is a scarce occurrence for a theatrical production to contain the capacity to utterly manipulate its audience’s emotions from the moment the lights illuminate the stage. It takes flawless coordination and vision among all of the technicians and actors of a show to evoke such a powerful experience in its viewers. The Port Tobacco Players’ (PTP) latest production of Arthur Miller’s Death of a Salesman aims to satisfy this phenomenon to the utmost level.
Originally produced in 1949 on Broadway, Death of a Salesman tells the story of an aging salesman named Willy Loman who is in the midst of reflecting on his life as he rapidly descends into senility. Interwoven throughout the play, strategically placed flashbacks slowly peel back the ever-astounding layers of Willy and his family’s complex dynamics with each other and the world around them. Since its initial debut, the story has been adapted numerous times for film, theatre, and radio. It tells a story that feels distant and yet all too familiar in the way that it examines the futility of our society’s unrealistic ideal of the American Dream.
Direction by Suzanne Donohue breathes a palpable sense of foreboding into every inch of the theater from the moment that the production begins. The entire time, I felt this intense emotional emptiness and hopelessness that, at times, veered towards overwhelming. Her blocking choices added a beautiful depth to each sequence that pulled each character further into this feeling of unease. Each of the Lomans felt exhausted with every measure of their existence, which further enhanced this. Additionally, her decision to have Happy be the picture of traditional, masculine bravado with a thick New York accent in order to contrast him to his brother Biff paid off immensely. What could have easily been a two-dimensional set of conversations between the two brothers was instead incredibly engaging to watch because of Donohue’s deliberate direction.
Lighting by Erik Braun and set design by Chuck Hower and John Merritt both accentuate Donohue’s work. Braun’s use of blue and orange lighting casts a dismal edge to the story. Hower and Merritt’s set design creates an all-encompassing house, complete with a fire escape in the periphery. This artistic choice to create a multi-layered set that fills the entire stage allowed for the maximum level of emotional immersion for the audience. As is ever the case with this duo, I feel I will be unpacking the intricacy of this set for the next while.
It is not an understatement to say that each of the actors in this cast were fully invested in their respective roles. However, there were two actors that I found to be of particular note – Brian Donohue as Willy Loman and Christopher Fleming as Happy Loman. I have enjoyed Donohue’s performances in previous PTP productions, but it is my firm belief that this role was his magnum opus. The authenticity with which he truly breathed ragged life into his character was honestly heartbreaking to watch because of how familiar he made Willy feel to the audience. Willy felt as though he could have been your grandfather or father, which made Donohue’s performance all the more gut-wrenching to witness.
Fleming has been an actor that I have watched for years at PTP and have seen glimmers of excellence within in the past. However, as is the case with Donohue, this specific role allowed Fleming to truly surpass any other performance that he has ever given prior to this one. The wherewithal with which he has crafted Happy is delicately intricate. Everything from his carefully chosen style with which he gestures to his thorough Brooklyn accent to his gait had me genuinely doing a double take because of how different his acting was in this production versus his previous roles. Fleming is a beautiful case study of a local actor who is truly dedicated to the eternal process of honing his craft.
While this may not be the show for everyone, this is not one to be missed by those who enjoy delving deeper into the finer intricacies of the human experience. PTP has genuinely crafted an unforgettable, immersive experience in this production. It is uncomfortable and full of adversity in the best way possible. Expect an evening (or afternoon) of a thorough examination of the ultimately futile nature of the American Dream that is insanely satisfying to the thoughtful theatergoer.
Approximate run time is 3 hours and 30 minutes with one fifteen-minute intermission.
This show contains mature themes such as suicide and marital infidelity. Parental discretion is advised.
Death of a Salesman will be playing at the Port Tobacco Players at 508 Charles Street La Plata, MD 20646 through October 8th, 2023. For more information and to purchase tickets, please visit their website here.
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