Mockingbird’s ‘Death of a Salesman’ Is A Must-See Masterpiece
The mark of a true masterpiece is its ability to strike such a universal chord about the human condition that it resonates through generations. Sadly, Arthur Miller’s “Death of a Salesman” doesn’t only echo louder than ever, but it feels like an elegy for a way of life that never truly existed other than in the delusional nostalgia society invokes to comfort itself with the hope that if a better time truly existed, surely it can again.
In such a way, we’re all a little like Willy Loman, the pathetic titular character of Miller’s play, a delusional and sad spectator in his own life, watching a film of his own mind’s creation that never truly existed.
Usually when a local theater rolls out a warhorse, in other words pretty much every week around here, I greet it with a sigh and a well-deserved roll of the eyes, hoping that at the very least it’ll be as fun as your standard bar cover band, theater version. And most of the time, they are. The musicals are lush and the casts are enthusiastically playing those Disney or Webber tunes with all the glee and relish of a pub band belting out a Huey Lewis and the News song for whooping and dancing former homecoming queens and kings holding up their Busch Lattes in one hand while they twirl around the dance floor happy they were able to get a babysitter. They’re fun stuff, and I’ve certainly enjoyed them as pure entertainment, but ultimately weightless.
“Salesman” is hardly that theater version cover band fluff. This is RIBCO bringing in a Joy Division tribute. It’s dark and thought-provoking, and the Mockingbird plays it expertly, with a cast that is absolutely superb, lighting and design that’s thoughtful and subtextually sublime and creative direction that breathes new life into an old classic. If you’re hungering for something substantial in your cultural travels, I highly recommend you make your way to one of the remaining shows this weekend. Mockingbird’s “Death of a Salesman” is a must-see.
Ben Gougeon as Biff in “Death of a Salesman.”
Now that I’ve gotten the ad blurb out of the way (you’re welcome, Tapscott), let’s roll out the perfunctory plot summary. Set during the mid-1940s in Brooklyn, Willy Loman (James Driscoll) is a 62-year-old nearing the end of his sales career, and, sadly, his life. He’s desperately clinging on to hope and relevance but unable to find satisfaction in the other elements of his existence, namely the steadfast love of his wife, Linda (Emmalee Hillburn) and the friendship of Charley (Renaud Haymon) because he’s so preoccupied with society’s version of success for him and his two sons, Biff (Benjamin David) and Happy (Jack Carslake) and his delusions about his past.
Feeling destitute, he’s attempted suicide before and is contemplating it again, and his family is at odds as to how to help him or handle the situation. Each of them is trying to do what they think is right, for themselves and the family, but doesn’t quite seem to be able to know how to put anything back together when it, and they, are so obviously broken and can’t figure out how to put themselves in shape. We see their struggles, juxtaposed with Willy’s hallucinatory travels into his memories and figures from his past, and, given the context of the play and its era, can see how far communication and the willingness to confront these mental and emotional corrosions have become. But we also see that the same societal antagonists that prompt and poison people are alive and well, which makes the show all the more poignant.
James Driscoll and Emmalee Hilburn play Willy and Linda Loman in the new Mockingbird production at Black Hawk College Aug. 20-29.
Willy’s preoccupation with status, success, and appearance to others seems quite similar to the mental decay being experienced by so many people in terms of social media, not to mention late-stage capitalism and its grinding down of human beings in lieu of AI-fed profits and proletarian blood being lavishly sucked out by reptilian shareholders.
In fact, one of the things that kept popping into my head during the show was that this is precisely the type of show that should resonate with Gen Z, or anyone else feeling that same unsettling distaste for how society is going right now. The material is brilliantly written and sadly prescient.
Jim Driscoll plays the beaten-down title role in the Arthur Miller classic for the second time, after a 2013 Richmond Hill production.
As for its presentation, director Tristan Tapscott has done a masterful job of creating this world. The staging is wonderfully clever, with a pastiche of windows in various shades of clarity mirroring the foggy states of well being in which the characters inhabit, and allowing for the darkness of memories to be seen shadowing the proceedings in the present. The lighting is stark and slicing, creating a shading effect that subtextually brings across the fractured and complex nature of these people, a mix of darkness and light. The stage is simple but effective, and the staging, which often features scenes seeping between each other, is a smart metaphor for the messy churning sea of memories, hopes and present tensions of Willy’s life.
The cast is highlighted by some of the finest actors in the area, without a doubt. Driscoll is a master at capturing the herky-jerky unpredictability of Loman, making him a sympathetic character despite his obvious flaws. His anger and dubious actions are seen as symptoms of his context, not excused, but understood. Driscoll captures the essence of Willy’s humanity and gives a master class in acting. If there’s a better performance on the local stage this year, well, bravo to whoever pulls it off.
The same could be said of his sons, the aimless Biff and the superficial Happy.
Emmalee Hilburn, Jim Driscoll and Ben Gougeon in “Death of a Salesman,” directed by Tristan Tapscott.
“Benjamin David” (IYKYK) is a magnificent talent and given a feast with Biff Loman, he devours the role. He’s absolutely brilliant in the part, making Biff’s desperate attempt to find himself tragic and palpable.
I have to admit I was a bit put off initially by Carslake as Happy, as there’s an obvious age gap between him and “David” and that, combined with their contradictory affectations, do not resound as brotherly. However, as the play progressed and Carslake settled in, I grew to admire his ability to hang with these heavy hitters and his native youth was a nice match for the blatant immaturity and Peter Pan syndrome of Hap. The fact he was able to hang with this bravura cast bodes well for his future, and I look forward to seeing him grow on stage. Kudos.
Renaud Haymon (Charley), Dana Moss-Petersen (Uncle Ben), Sophia Kilburg (The Woman), Madalyn Schierloh (Letta), Marley Haley (Jenny/Miss Forsythe), Eric Teeter (Howard/Stanley) and Morgan Wehling (Bernard) also do a fine job. Haymon is a cool counter to Willy’s hyper vibe, and always brings a welcome calm to his scenes. Moss-Petersen is wonderfully creepy and ominous as the ghostly Uncle Ben. And Kilburg is slinky and sexy as the aptly named The Woman.
From left, Jim Driscoll, Morgan Wehling,,Madalyn Shierloh, and Marley Haley.
However, special attention must be paid in particular to Emmalee Hillburn as Linda Loman. This is something of a thankless role, but an integral one. She’s got to be the emotional center around which these volatile characters revolve, and Hillburn is fantastic in the role. We feel so strongly for her and her obvious plight, as she optimistically tries her best to bring some sort of resolution and equilibrium to the situations around her while holding her own pain within to keep it from overshadowing the needs of those she loves. It’s not a flashy performance, but it’s not a flashy character. It needs subtlety, which is one of the most crucial yet difficult things to capture for an actor, especially when being surrounded by those given the exact opposite in terms of material. She needs to be the space between the notes, to give them room to be heard, and she masters it gracefully.
“Death of a Salesman” is exactly the type of show the Mockingbird was made for. Substantial, beautifully manifested, and integral to not only the local creative scene, but for the growth of its audience, and the demonstration of what theater can be at its best.
Admission to “Death of a Salesman” is by the flexible price structure of “Pay What It’s Worth,” to ensure affordability, especially for BHC students. Performances will continue at 7:30 pm, Friday, and Satudray, Aug. 28-29 at Black Hawk Community College Theater.
Emmalee Hilburn as Linda Loman at Black Hawk College.
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