Death Of A Salesman

After successful runs in Chicago and New York, this production of the Arthur Miller classic comes to L.A. in taut, polished shape. The actors have invested themselves deeply in their roles and work with assurance, backed up by elaborate production values -- revolving stages, tricky lighting, cubistic set -- and a director working at full strength. Strength is probably the operative word in this contemporary interpretation of the play, with Brian Dennehy delivering a big, loud Willy and Elizabeth Franz a vigorous, angry Linda. Most of the subsidiary characters come off on the strong, forceful side as well: this is a production brimming over with energy and drive.

Making Willy something of a blowhard, a foolish man locked into false notions about the American Dream, creates a challenge for Dennehy, who must also play Willy's mental disintegration in convincing fashion. Credit Dennehy with bringing off the difficult trick, with the skill and shading of the great actors who have preceded him in the role (Frederic March, Lee J. Cobb, Dustin Hoffman, etc.). Though Ron Eldard as Biff doesn't have the physical build to match his old man's -- the same goes for Hap (Ted Koch) -- he has enough strength and fire to stand up to him.