Death of a Salesman | The Lowry

Generally considered as one of the greatest plays of the twentieth century, Death of a Salesman has seen many productions since its debut. Since its Broadway premiere in 1949, it has won 13 Tony Awards and continues to delight audiences. Now in its final week of the current tour, the production plays at The Lowry in Salford.

Written by Arthur Miller, this new production of Death of a Salesman takes a look at the last twenty four hours of Willy Loman’s life. Loman dedicates his entire life to working as a salesman in pursuit of the American Dream, hoping to secure a better future for his family. However, as we reflect on his final hours, memories from his past begin to resurface. Co produced by Trafalgar Theatre and Raw Material, this new production sees David Hayman step into the lead role as we explore his family dynamics.

Directed by Andy Arnold, the production feels both familiar and poignant in today’s climate. Its themes remain strikingly relevant, as many people continue to struggle to make ends meet while holding onto hopes of a better future for their families. In that sense, the material resonates deeply. However, with a running time of just under three hours, maintaining engagement throughout proves challenging.

This is not to diminish the talented cast, who handle Miller’s consistently impressive writing with conviction. However, there is a noticeable lack of dynamism on stage. Neil Haynes’ set design is minimal, centred entirely around the Loman family home. While this simplicity keeps the focus on the performances, it ultimately falls short of offering the visual interest needed to fully sustain the audience’s attention. Paired with the dense and often lengthy dialogue, the production occasionally struggles to keep the audience fully engaged.

Hayman captures the character with remarkable precision, seamlessly shifting from moments of confused nostalgia to portraying the authoritative head of the family. He shares a compelling connection with Daniel Cahill, who plays his son Biff. Their father-son dynamic is portrayed with real depth, highlighting Biff’s desire for his father to see and accept him as he truly is, rather than as the idealized version Willy clings to. Willy’s frustration stems from the fact that, at 34, Biff has yet to “make something” of himself and Cahill’s performance powerfully conveys the weight of that disappointment. Cahill’s portrayal adds real emotional heft, making Biff’s struggles feel authentic and relatable.

The majority of the supporting cast feel underused. Though they’re consistently present, often seated at the sides of the stage, you find yourself waiting for them to spring into action, which happens all too rarely. As Willy’s life spirals out of control, the staging reinforces the idea that all eyes are on him. And while each cast member delivers a strong performance when given the chance, it’s a shame they spend most of this long piece on the sidelines.

Death of a Salesman is continually revived because audiences really connect with it. While it's often seen as one of Miller’s best works, it might have been more impactful with a more dynamic production. The cast deliver strong performances throughout, even as the pacing makes the piece feel long and, at times, difficult to stay fully engaged with. For a play about death, it could’ve used a little more life.

Death of a Salesman runs at The Lowry in Salford until Saturday 03rd May 2025.

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★★★☆☆ (3*)

Gifted tickets in return for an honest review | Photography by Tommy Ga-Ken Wan