Scene 5 is significant because it is the first time that Willy's manipulation of reality occurs in front of the audience. In the background, a woman's laughter can be heard, and a faint outline of a woman dressing becomes visible. Linda's comments encourage Willy, and he declares his affection for her. Linda assures him that she finds him attractive and that his children love and respect him. Willy says that he talks and jokes too much, and that no one takes him seriously because of his appearance. Willy declares that he will be successful in Hartford because he is "well-liked," but he immediately follows that statement by saying that people do not respond well to him. Willy becomes agitated and refuses to pay for the carburetor for the Chevy because he considers the car worthless, even though he praised the car at the beginning of the scene. Linda recites an itemized list of bills that exceeds his $70 commission by approximately $50. Willy exaggerates his sales, telling Linda that he sold $1,200, but when she calculates his commission, Willy is forced to admit that he only sold $200. Linda and Willy are left alone and begin discussing his earnings from the trip to New England.
Some hang laundry others sweep out the furnace room. Biff orders Happy and his friends, who are waiting down in the cellar, to help with the chores.
Linda enters the kitchen carrying a basket of laundry. A New York Times Critic's Pick, the production in New York features a new cast of supporting actors, including Khris Davis ("Atlanta"), McKinley Belcher III ( A Soldier's Play), and Tony Award® winner André De Shields ( Hadestown).ĭirected by Miranda Cromwell – who won an Olivier Award alongside co-director Marianne Elliott for the West End and Young Vic productions – this "unmissable" (Los Angeles Times) interpretation of Miller's classic drama illuminates the dark underbelly of the American Dream and its elusive promise of equality and opportunity for all.Scene 5 continues in the past where Scene 4 ended. Olivier Award nominee Wendell Pierce ("The Wire," "Jack Ryan") and Olivier Award winner Sharon D Clarke ( Caroline, or Change "Doctor Who") reprise their roles as Willy and Linda Loman in a story told – for the first time on Broadway – from the perspective of an African American family. Following a critically acclaimed run in London, "a volcanic new Death of a Salesman has erupted on Broadway” raves The Washington Post.
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