An accomplished cast ignite Marianne Elliott and Miranda Cromwell's compelling production of Arthur Miller's classic, Death of a Salesman, but does making the Lomans a black family enhance Miller's intentions?
Free from the relentless "black and white" trap in American performing arts, Joseph Mydell talks with PopMatters as he prepares to play Ben Loman in Marianne Elliott's much-anticipated revival of Death of a Salesman at London's Young Vic.
Daniel Rosenthal's illuminating collection in Dramatic Exchanges brings together some of the letters, postcards, telegrams, and emails exchanged by actors, playwrights, directors and other creatives involved in the National Theatre's story.
Staggeringly multi-layered, dangerously fast-paced and rich in characterizations, dialogue and context, Jez Butterworth's new hit about a family during the time of Ireland's the Troubles leaves the audience breathless, sweaty and tearful, in a nightmarish, dry-heaving haze.
An unexpurgated account of an extraordinary life could, in lesser hands, have been a misery memoir. But Duff created a delightful literary work throughout which, even when revisiting the darkness of his past, he sprinkles gaiety and humour.