Venue Details

82 Star Starred
Actors Theatre of San Francisco
855 Bush St. San Francisco, CA 94108
Venue website Get directions

Member Tips

Dominic DiNardo
Casual is fine
info May 28 2012 star this tip starred
Dominic DiNardo
No problelm
info May 28 2012 star this tip starred
Dominic DiNardo
Not far from some nice restaurants
info May 28 2012 star this tip starred
Dominic DiNardo
The folks at the Actors' Theater are tres charmant
info May 28 2012 star this tip starred
You can buy cookies, soda and wine at the restaurant.
info May 28 2012 star this tip starred
Take public transport, taxi or bike!
info May 31 2012 star this tip starred
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Reviews & Ratings

58 ratings
4.5 average rating
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78 events
25 reviews
131 stars
attended May 24 2012

This is a great production: physical, emotional, and engaging. I saw the movie with Dustin Hoffman and found this production more engaging. Somehow it has a warmth that... continued

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12 events
4 reviews
2 stars
attended May 30 2012

I hate to get too carried away with this review but I was blown away by this production and we couldn't have left anymore satisfied. We had never been to the Actors... continued

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177 events
126 reviews
17 stars
attended Jun 08 2012

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... continued

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More Information



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.