Kazan, that most of the credit must go.The beauty of theater is both exceedingly illusive and profoundly lasting. Kathleen Alexander must be mentioned for her success in sustaining the mood of the piece.
In the relationship with the situations the play may seem foreign, not because the situations are false to human nature but because the manner of expressing them is wholly alien: but as played by Paul Muni and Kevin McCarthy they are none the less intensely poignant. But in much else, and in the acting of the principal parts, this performance is less good, and so different is the audience's reaction that the play itself is transformed.Įnough remains, however, to constitute a most moving play which chronicles the decline of a good little man and the defection of his sons, whom he had tried to bully into his own sham philosophy.
Arthur Miller's "Death of a Salesman" was very well received at the Phoenix Theatre last night, yet it disappointed many people including this critic, who saw it in New York and there found it something comparable to an American "King Lear." Over here we are fortunate in having the full production by Elia Kazan, and the setting and lighting of the original, which most subtly annihilates time and place and gives us a penetrating series of glimpses into the heart of a man who is dying of disappointment.
I t is a curious comment on practice in the London theatre and a revelation of the extent to which anything American is assured of success that the strongest play of the New York theatrical season should be transferred to London in the deadest week of the year.
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