Arthur Miller's American Classic Death of a Salesman From Actors Theatre of San Francisco
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The last date listed for Death of a Salesman was Saturday July 21, 2012 / 8:00pm.
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Steve Silver's Beach Blanket Babylon is the world's longest-running musical revue. Since 1974, this San Francisco institution has followed Snow White on a musical comedy quest around the world, where she runs into satirically portrayed pop-culture and political celebrities, an impressive array of gigantic hats and one showstopping musical number after another. Because the show is constantly updated with new costumes, hats and characters, it rewards repeat visits. Among the familiar faces you might see spoofed in Beach Blanket's latest incarnation: Lady Gaga, Barack and Michelle Obama, the cast of Glee, Kate Middleton and Adele. Even after nearly 40 years, Beach Blanket Babylon remains one of San Francisco's wildest evenings of live entertainment. Learn More
Reviews & Ratings
Featured review from TheaterLuvrSF
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Having just seen Glengarry Glen Ross here (great), and with the good Goldstar reviews, had high expectations. Christian Phillips (as Willy Loman) did his normal excellent job, but the rest of the cast was just not good. Flubbed lines and generally unconvincing acting. Hopefully they will work out the kinks.
In 2010 The Denver Post conducted a national survey of one hundred and seventy-seven theater experts in order to compile a list of the ten most important American plays. Death of a Salesman topped the list as the single most important American play.
Why should the story of Willy Loman (low man) resonate so strongly with the American audience? Certainly Willy, who has been called a “working class Oedipus Rex,” does not fit the standard criteria of a tragic hero. He is not a great or powerful person destined through a flaw of character to meet his destruction. He is a drummer, a salesman “riding on a smile and a shoeshine." Willy’s flaw of character is certainly evident early on when he rhapsodizes over “the American Dream” to his sons. Willy has obviously whole-hearted bought into a vision that equates wealth with virtue, possessions with self-worth, and “being well liked” with success.
But the play is so much more than an indictment of an economic system governed by abstract principles rather than human need. Willy’s inability to reconcile the hopes he had for his life with the reality of the one he actually lived is the flaw that does him in. And there is perhaps is the source of resonance for the audience. Willy anguishes over “the road not taken” as embodied in his long dead brother Ben. “When I was seventeen I walked into the jungle and when I was twenty-one I walked out. And by God, I was rich.”
The play moves seamlessly through time and place, from the present into the past and into the fantasies in Willy’s head unhindered by any consideration of "The Unities." And Willy cannot be said to achieve self-realization certainly not like his son, Biff: “Pop, I’m a dime a dozen, and so are you!”
But there is a deluded nobility and even majesty when Willy roars back, “I am not a dime a dozen. I am Willy Loman and you are Biff Loman!” And it is enough to break your heart.
ATSF's production is directed by Keith Phillips and Assistant Directors Kevin Daniels and Delinda Dane; Light design by Rachel Klyce, Technical Director James Baldock and Merri Gordon, and set design by Chris Phillips; featuring: Randy Blair, Marvin Glass, Karen Goldstein, Christian Haines, Sean Hallinan, John Krause, Chris Phillips, Jessica Risco, Carole Robinson, Sydney Gamble, Kelli McCrann, Kevin Daniels and Nick Russell.
The performance runs 2 hours and 45 minutes with one intermission.
About the Ticket Supplier: Actors Theatre of San Francisco
Founded in August of 1989 by a group of professional actors and directors who shared a common desire to produce ensemble theatre works, the founding members of the Actors Theatre of San Francisco committed themselves to creating a permanent repertory company whose work would reflect their ideals of ensemble theatre: a theatre where all the participants share the same artistic vision, have a unified approach to the rehearsal process and a desire to create revelatory theatre that surpasses their desire for individual gain. The founding members gave themselves no restriction as to style, content or period. Instead, they committed themselves to producing theatre that is designed to enlighten and illuminate the human condition.