Death of a Salesman (Theater Mitu) NYC Reviews and Tickets
Member Reviews (30)
See it if You like experimenting, with a classic. They hold true to it, sort of. It took me a while to get it. By the end I bought in completely.
Don't see it if You don't like your classics messed around with or if you have memories of Phillip Seymour Hoffman from Broadway that you want to live on.
See it if Hyper-stylized production of Miller's classic about dissolution of American dream The least studied performance -Sullivan's Biff takes focus
Don't see it if Polendo's abstract concept often puts us at odds with emotional appreciation. Has a 'peaks & valleys' feel as many effects miss their mark
See it if you want to see a new look at a great classic. The Fisher is a great place for a production. A bit of music and a bit of dance. too.
Don't see it if you are fixed at a certain concept of the play or can no longer tolerate the almost 3 hour plays of yore.
See it if you enjoy experimental theatre or a truly unique take on an American classic.
Don't see it if you're not into experimentation. I didn't know what I was watching (very strange), but the writing and performances kept me engaged.
See it if You want to see a VERY experimental version of an American classic. You want unique & globally-inspired staging.
Don't see it if You want experimental staging that illuminates the play: some was successful, most of it didn't add anything. Read more
See it if You want to be blown away by great acting and staging.
Don't see it if You only wan to see the play in its original format. Read more
See it if you want to see how experimental theater sometimes just does NOT work. A total destruction of an American Classic.
Don't see it if you have any respect for Arthur Miller.
See it if you are open to a deconstruction of western theatre in general.
Don't see it if you often say "that was too weird for me." Read more
Critic Reviews (6)
"This revival eclipses the classic instead of illuminating it...Director Polendo’s unproductive, experimental staging is mostly just talking to itself, sidelining a larger conversation...The directorial flourishes jam the flow of emotion...By the time Willy is speak-singing sales advice, empathy has fled, and the show feels like the world’s saddest and weirdest production of 'How to Succeed in Business'...The gap between its aims and its peculiar ways of achieving them never gets bridged."
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“A highly stylized and thrilling interpretation...Theater Mitu's revival breathes new life into ‘Salesman'…Polendo and Theater Mitu's nontraditional approach to the material, despite being initially disorienting, suits Miller's memory play…Purists who prefer a straightforward 'Salesman' may balk at Theater Mitu's take. This production, however, performed at a time when our country is taking a hard look at its own delusions, gives Miller's words a modern resonance.”
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"Theater Mitu manages to reinterpret this canonical work into something wholly unique and utterly fascinating by using techniques of experimental and absurdist theatre, combined with elements of Japanese puppetry...These avant-garde elements create a distinct and stylized universe, which would not be successful without the expert skill of director Polendo and his incredibly talented cast...This arresting production artfully brings the Loman family back to where they have always belonged."
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"Biff's farewell speech and the simplicity with which Sullivan performs it are all the more powerful for being set against Mitu's anti-realistic staging, with Polendo's fanciful direction, the stylized performances of his fellow actors, and the changing colors of Ashton's lighting. Nothing in this production is as effective or emotionally involving as Sullivan's confrontation...Mitu's production is for the most adventurous theatergoers."
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"A wide range of theatrical conventions are used to approach the work...Cumulatively, this makes for a somewhat assaulting production that overshadows Miller’s searing dialogue, which works best when the actors are simply acting...This isn’t to say that all is lost in director Polendo’s experimentation. Repetitive movements that hark back to Chekhov’s psychological gestures add gravitas to moments...While I feel like the company has a visionary style, the substance is lost in translation."
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"Polendo bestows this American classic with great depth due to his distinctive interpretation...The production is visually stunning, collaboratively conceived, and emotionally impactful...Nestor and Asbell are truly captivating as Willy and Linda Loman...The visual images are potent and riveting, and surprisingly evoke a strong emotional response. This is the genius of this production."
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