WILMINGTON— Despondency, denial, disappointment, dementia — they’re all themes addressed in Arthur Miller’s iconic 1948 American play, “Death of a Salesman.”
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It’s being produced by Opera House Theater Company and will open Thursday night on the main stage of Thalian Hall.
The play stands as an iconic depiction of a man following the American dream for his family; however, somewhere along the way, he descends from hope into tragedy. The production remains true to the original storyline, according to the cast. The storyline follows Willy Loman, an aging salesman who is grappling with his failures as a father and husband. In order to cope with the disillusionment of his success, Willy recollects on defining moments in his past.
This OHTC production will stray from the typical use of a white cast, although the script remains the same.
There have been rare occurrences of the Loman family being portrayed by a Black cast, one notable and recent example being the 2022 Broadway revival. In this production, the Loman family was played by Wendell Pierce and Sharon D. Clarke, with a Black cast for the first time in Broadway history. The New York Times review juxtaposes this rendition with past Broadway productions of the show, remarking it “goes wider” and is “notably rich” in its “mostly successful approach.”
Actress NaTasha Yvette Williams, a newly minuted Grammy-winning singer, takes on the role of Linda Loman, while local Fracaswell Hyman, an executive producer, author, and actor, portrays Willy Loman. The two stars anchor the foundation of the play
Williams has starred in various Broadway musicals, including “Chicken and Biscuits” in 2021, “Tina: The Tina Turner Musical” in 2019, “Chicago” in 2014, and “A Night with Janis Joplin” in 2013, among others. Three weeks ago, she scored her first gold phonograph at the 2024 Grammys for the musical album “Some Like It Hot” where she played the role of Sweet Sue.
This is her first play since coming off “Some Like It Hot,” which closed on Broadway Dec. 30. Williams said she is happy about resting her vocal cords and coming back to North Carolina to perform; originally, she is from Fayetteville.
“Musicals tax you a lot differently, not that a play doesn’t, but I don’t have to sing,” she told PCD. She also credited Linda Loman as “a massive beast of a role — so I am still working just as hard, just working different muscles.”
Williams further characterizes Linda as a “warrior” who serves as the backbone holding together the family and her husband Willy, who suffers from senile dementia and possible bipolar disorder. It’s a representation of the roles often assumed by women, particularly in the early 1950s.
“She takes care of and cosigns and enables the illness to grow because we don’t look at it,” Williams said. “We don’t face it, we cover it up, we say it’s not there and that’s how things began to deteriorate and she plays a part in that.”
Like Willy, Linda experiences tragedies of her own: her constant efforts to uphold her family’s dignity and support her husband’s dreams, ultimately, contribute to her family’s downfall.
“I think she makes mistakes, but I think they are made with the best intentions. As we do, we make mistakes, but we fight to raise our family,” Williams states.
Her process preparing for Linda meant researching the time period, seeing what feelings the role inspires, and referencing other great interpretations to add on elements other actors bring to the role. She mentioned how before getting news she was cast in the role, Williams got to see the recent Broadway rendition of the play.
“I was struck by all of the things I had missed before,” Williams said. “That turned into research for me.”
Williams was familiar with the play — something she had studied while in school. However, the current production, featuring a predominantly Black cast, had a distinct impact on her as a Black woman.
“It makes people aware that these things are happening so it’s not just a Black issue — it’s a societal issue,” she said. For example, racial conflicts
OHTC’s distinctive casting introduces a new dimension. According to Williams, casting can change the dynamic of any play and this version, she surmises, may challenge audiences to perceive the show differently as systematic racial conflicts come to light. For example, instances where Willy talks to his younger, white boss, could be perceived differently when assessing the dynamic between races ahead of the civil rights movement.
“The storyline is something that any American family can identify with in some capacity, but adding the layer of the struggles of Black people as well gives it a different kind of depth and viewpoint,” added Stoney B. Mootoo, the director of OHTC’s play.
Mootoo, a Broadway actor, expanded her skills to directing in 2020 on music videos and short films. This will be her directorial debut for the stage. She’s performed in Wilmington before for Cape Fear Theatre Arts’ “Memphis” and their production of “Sister Act.”
Williams pointed to a couple of instances where cultural identity becomes apparent via the set design of the Loman family home.
Props like African masks and mudcloth are incorporated into the set — hinting at potential gifts Ben may have brought back from his trip.
“For us as Black people — and specifically a Black family in Brooklyn in 1949 — that would be something we would’ve revered and honored,” Mootoo said. “To have things from the homeland.”
It’s also particularly apparent with the mention of Willy’s older brother, Uncle Ben. Uncle Ben is successful and stands as a symbol for what Willy is striving for. Ben made a fortune discovering diamond mines in Africa and appears in Willy’s imagination throughout the play.
Mootoo’s favorite scene from Act I, is when Willy shares quality time with his sons. She admires the scene because it portrays respect the boys have for their father and it presents a positive representation of a Black parent, actively engaged in his children’s lives. It’s a portrayal that challenges persistent stereotypes about Black family units.
It is worth noting that a Black cast could profoundly alter certain dynamics in the play, particularly given the setting in Brooklyn, New York, during the early 1950s. Racial segregation and oppressive violence were still at a high point. But Mootoo said the beauty of the writing makes it cross boundaries of race, culture and the like.
“Any people of color, or anyone who isn’t of the white heritage, has a level of oppressive experience so we are adding that oppression on top of the burdens that the character Willy Loman is already experiencing,” she states, “I think the writing is fantastic because it applies to any kind of family in America.”
The burdens she is referring to encompass: the pursuit of the American dream, exemplified by Willy’s victimization within a capitalistic society; mental health struggles which, for Willy, become fatal; and the idea of enabling loved ones, something that Willy’s family, specifically Linda, embodies. These are themes Williams and Mootoo believe could resonate with diverse audiences.
Mootoo described a theme as “Illusion versus reality,” highlighting how Willy and the Loman family create a façade of normalcy, despite underlying issues. She added it could be a coping mechanism: “With the weight of reality, sometimes we tap into illusion.”
She further notes how the storyline shows how society may promise everything, yet manages to guarantee nothing.
Mootoo admired Williams’ and Hyman’s approach to creativity during rehearsal, expressing gratitude for their ability to simplify the directing process. The director called Williams an exceptional storyteller, captivating on stage, and effortless to work with.
Mootoo also lauded Hyman for his dynamic acting style and ability to make bold and impactful choices.
Hyman — who was unavailable for an interview with PCD — has contributed to the television series, “Romeo!, Taina, Little Bill,” and “Bookmarks: Celebrating Black Voices.” Last year Hyman was awarded a Wilmington Theater Award for outstanding director on his project, “School Girls; Or the African Mean Girls Play.”
“We want actors who will make choices, who will find the color in every scene and every moment, and that’s who he is,” she said.
Also starring in the show is Dontonio Demarco and Jadin Alexander as the Loman sons, Biff and Happy, and Michelle Braxton, from the Triangle, as “the other woman.” “Death of a Salesman” runs Thursday through Sunday, starting Feb. 22 and closes March 3. The evening show begins at 7:30 p.m., and the Sunday matinee begins at 2 p.m. Tickets can be purchased here.
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