Back from a mini tour of Yorkshire and Stockport and cheering for supporting act Indignation Meeting
Death of a Salesman, Young Vic Theatre, London
Arthur Miller's classic gets a worthy but underpowered production
PIC CAP Indomitable: Sharon D Clarke Pic: Brinkhoff Mogenburg
ALISTAR FINDLAY is mesmerised by this multiple ‘Visions of Scotland’ assault on the audience’s eyes and senses
The Star's critics ANGUS REID, ANDY HEDGECOCK and MICHAL BONCZA reviews I Am Love, The Penguin Lessons, Freaky Tales, The Thicket
MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
JOHN GREEN relishes photography that unfolds a longstanding and poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
THE impromptu Arthur Miller season of six of his plays performed in Britain since the start of the year culminates in this production, with an all-star cast led by Wendell Pierce of The Wire and Suits fame and directed by the multiaward-winning duo of Marianne Elliott and Miranda Cromwell.
But for all that star power this Death of a Salesman falls a little short of its sales pitch.
Anna Fleischle’s brutalist concrete set is where the cracks begin to surface. Trapping the action in such austere confines makes it difficult to imagine the mid-1940s US East Coast where Willy Loman’s life unravels and with the costumes and props so clearly located in the period it’s an anomalous contrast difficult to ignore.
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