MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
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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
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
MARY CONWAY is disappointed by a production that panders – if inadvertently – to Western prejudice against China
JOHN GREEN is fascinated by a history that excavates the enormous role played by agricultural workers in recent times
ALEX HALL recommends a book that places empirical evidence at the heart of understanding racism
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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