The Star's critics ANDY HEDGECOCK, MARTIN HALL, MICHAL BONCZA, ANGUS REID reviews Holy Cow, One to One: John and Yoko, King of Kings, Panda Bear in Africa
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Resonant dramatic autopsy on the death of the American Dream
PIC CAP Conflicted: Ashley Zhangazha (Biff) and Don Warrington (Willy Loman) Pic: Johan Persson
PATRICK JONES recommends a vital anthology from Afghan and Iranian poets where the political and personal fuse into witness-bearing and manifesto-making
WILL STONE is impressed by Hania Rani who is already making a name for herself in the male-dominated world of modern classical music
MIK SABIERS enjoys the theatrical feminist six piece who have a lot of fun that the audience feeds off as the set rolls on
New releases from Ibex Band, Lucy Dacus, and Various Artists
MARY CONWAY is disappointed by characters so un-nuanced as to be unreal, a stereotypical plot and a conceptual vampire
WILL STONE appreciates an artist who can swerve from industrial noise to clubby trance pop without missing a step
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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