Theater Mitu brings a hyper-theatrical production of Arthur Miller's Pulitzer-winning drama to BAM, in which human beings become objects, music carries the memory of days long gone, and a life is reduced to a mortgage. More…
Held hostage by their past, a family grapples with failure, worth, and a world closing in around them. Theater Mitu’s staging of Arthur Miller’s 'Death of a Salesman' explores a landscape of unrealized hopes and asks what happens when you are written out of the American Dream.
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 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 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 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.
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 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 enjoy experimental takes on American classics. You want an exploration of family dynamics.
Don't see it if You want typical theatre, this is highly stylized, using maskwork and puppetry to reimagine the play.
See it if you're into experimental theatre, any/all "Deaths," or live music accompaniment (neat!); intrigued by use of puppets of a sort. Great venue!
Don't see it if you're not rested or focused (operating on zero sleep, I didn't last past intermission); jarred by sporadic song & music, by pseudo-puppetry
See it if you know this American Classic play well & allow your imagination to interpret the incongruous accouterments ( electric fans, punching bag)
Don't see it if you have no patience for experimental theater (The narrative is straightforward, the presentation is not.); hate awful singing.
See it if You like extremely avantgarde theater with incredible lighting. Fascinating use of color and use of time. Excellent and complex acting.
Don't see it if You don't like inanimate object work (as main characters) or if you don't like puppeteers/mime and face masks.
See it if you'd wanna see a refreshing take of an American classic in a completely different manner and conventions
Don't see it if you have always loved the naturalistic approach of Miller's play
See it if you want to see a classic text treated like a new work with technical brilliance and verve
Don't see it if you're precious about the way people handle "the cannon"
See it if you love Arthur Miller plays and want to see a very unique theatrical rendition of it with some well done/interesting production values.
Don't see it if You don't want to see a classic play muddied with experimentation. It felt very long and with the singing and props, was very strange.
See it if you are open to listing and experiencing the themes of DOAS in a fascinating manner
Don't see it if you Love Arthur Miller's Pulitzer-winning drama and are expecting a Str8 forward interpretation of the script
See it if u like long, distorted interpretations of classic Americnan tragedies. Very experimental staging distracts from powerful themes/great acting
Don't see it if you want classic staging of a linear play. It's confusing and jarring and sometimes works, sometimes doesn't but makes a strong impact
See it if you haven't seen the classic play or want to see a diff't refreshing version. The minimalist staging make you focus on the effective acting.
Don't see it if you want a fancy staging with a big cast.. as there are only 4 actors and the rest are "talking props" that can be both fun & disturbing.
See it if You like avant garde surreal theatre. New takes on an old classic. Colorful, inventive. Clever props as people manned by puppeteers. Angst.
Don't see it if you don't like surreal twists on classics. Minimalism. Puppets. Masks. You want a standard production in a classic setting.
See it if You want an experimental take on a classic play. The abstract puppetry and background dance/movement was profound.
Don't see it if If you can only appreciate realism (like a movie); if you can't follow shows that use symbolisms and the abstract; if you can't concentrate.
See it if ..You like classics in avant guard rendition. Puppetry, Japanese Bunraku theatre, one woman band, haunting visuals, heartfelt story.
Don't see it if ..You don't like things odd and prefer realism in the theatre.
See it if you like very, very experimental theatre and have no respect for Arthur Miller.
Don't see it if you like this play and enjoy more conservative staging. Ideas are not bad, they just didn't work with this play.
See it if you are into new wave theatre and you have a slight interest in seeing a new interpretation of this classic play. Interesting symbolism.
Don't see it if you might be disappointed if you are a huge fan of this play. There are a lot of elements in this production you might be disagreed with.
See it if you enjoy seeing American classics reworked and reimagined in ways that may or may not serve the script, you think weird is good.
Don't see it if you prefer more straightforward treatment of the classics, you think directors should leave well enough alone