REVIEW
Southend Shakespeare Company presents
DEATH OF A SALESMAN
by Arthur Miller
Palace Theatre, Westcliff on Sea
29th October - 2nd November 2024
Southend Shakespeare Company presents
DEATH OF A SALESMAN
by Arthur Miller
Palace Theatre, Westcliff on Sea
29th October - 2nd November 2024
First performed in 1949, Arthur Miller’s Death of a Salesman has won armfuls of prestigious honours, including the Pulitzer Prize for Drama and a Tony for Best Play. It’s also considered to be one of the 20th century’s greatest plays.
(No pressure, then, for any drama group that chooses to stage it!)
Happily, this seminal play is in good hands with Southend Shakespeare Company, which has over 20 years of successful productions under its gleaming buckle-belt.
The story is deceptively simple: told through a montage of memories, dreams, and the real-life struggles of Willy Loman, a 63-year-old travelling salesman – of what, we never find out. This is the late 1940s, and Willy is suffering from what we now call ‘burnout’. Years of excessive toil and travel have taken their toll and he is exhausted.
Willy’s wife, Linda, suggests he ask his boss to allow him to work in their home city of Brooklyn, to help ease the pressure. We also meet their adult sons, Biff and Happy, or ‘Hap’, who are both staying at the family home. We soon learn that Willy had high hopes for both of his boys, but that somehow, they never amounted to anything.
What follows is a heart-rending, yet all too familiar, story of trampled-upon dreams and impossible expectations. We travel backwards and forwards in time via Willy’s memories and hallucinations, with Denis Foot doing an excellent job of portraying his rapid descent into senility as his circumstances worsen. Willy frequently confides in his long-dead brother, Ben (James Carter), and we also meet his wisecracking neighbour, Charley (Brian Eastty), whose son Bernard (Henry Hewett-Dowson) personifies the success Willy craved for his own sons.
Joanne Seymour’s subtle performance is a highlight. Linda’s love for her husband, whom she describes as a “little boat looking for a harbour”, is palpable – even when he’s yelling at her to let him speak. Biff and Hap, played by Dave Gardner and Adam Mayhew, feel like real brothers – distinct from one-other, yet both jaded by life and crippled under the weight of expectation. Gardner plays Biff with real emotion, especially in the final, devastating, scenes with his father.
Designed by Tracey Peacock, the set is efficient and sparse, so Miller’s poignant dialogue takes centre-stage. Props seamlessly slide and morph into an array of spaces: offices, the Lomans’ home, a restaurant with checked tablecloths. Along with Jacquee Storozynski-Toll’s costumes, Richard Foster’s clever lighting design helps the audience separate ‘then’ from ‘now’ as the tragic story unfolds.
This being the play’s first night, there were a few minor hiccups. A late start meant the first half felt rushed in places. Some American accents were better than others, which I personally found a bit distracting (though this is clearly a universal issue in the acting world, as anyone watching Liam Neeson play a Mexican hitman – in the 2022 movie Memory – will attest!)
But by the second half we were in full, engrossing swing. The actors all embodied their roles and there were audible sniffs from the audience as we reached the tear-jerking finale. In short: this is an ambitious and admirable production that’s well worth seeing.
Review: Nina Jervis-Green
(No pressure, then, for any drama group that chooses to stage it!)
Happily, this seminal play is in good hands with Southend Shakespeare Company, which has over 20 years of successful productions under its gleaming buckle-belt.
The story is deceptively simple: told through a montage of memories, dreams, and the real-life struggles of Willy Loman, a 63-year-old travelling salesman – of what, we never find out. This is the late 1940s, and Willy is suffering from what we now call ‘burnout’. Years of excessive toil and travel have taken their toll and he is exhausted.
Willy’s wife, Linda, suggests he ask his boss to allow him to work in their home city of Brooklyn, to help ease the pressure. We also meet their adult sons, Biff and Happy, or ‘Hap’, who are both staying at the family home. We soon learn that Willy had high hopes for both of his boys, but that somehow, they never amounted to anything.
What follows is a heart-rending, yet all too familiar, story of trampled-upon dreams and impossible expectations. We travel backwards and forwards in time via Willy’s memories and hallucinations, with Denis Foot doing an excellent job of portraying his rapid descent into senility as his circumstances worsen. Willy frequently confides in his long-dead brother, Ben (James Carter), and we also meet his wisecracking neighbour, Charley (Brian Eastty), whose son Bernard (Henry Hewett-Dowson) personifies the success Willy craved for his own sons.
Joanne Seymour’s subtle performance is a highlight. Linda’s love for her husband, whom she describes as a “little boat looking for a harbour”, is palpable – even when he’s yelling at her to let him speak. Biff and Hap, played by Dave Gardner and Adam Mayhew, feel like real brothers – distinct from one-other, yet both jaded by life and crippled under the weight of expectation. Gardner plays Biff with real emotion, especially in the final, devastating, scenes with his father.
Designed by Tracey Peacock, the set is efficient and sparse, so Miller’s poignant dialogue takes centre-stage. Props seamlessly slide and morph into an array of spaces: offices, the Lomans’ home, a restaurant with checked tablecloths. Along with Jacquee Storozynski-Toll’s costumes, Richard Foster’s clever lighting design helps the audience separate ‘then’ from ‘now’ as the tragic story unfolds.
This being the play’s first night, there were a few minor hiccups. A late start meant the first half felt rushed in places. Some American accents were better than others, which I personally found a bit distracting (though this is clearly a universal issue in the acting world, as anyone watching Liam Neeson play a Mexican hitman – in the 2022 movie Memory – will attest!)
But by the second half we were in full, engrossing swing. The actors all embodied their roles and there were audible sniffs from the audience as we reached the tear-jerking finale. In short: this is an ambitious and admirable production that’s well worth seeing.
Review: Nina Jervis-Green
Arthur Miller’s modern tragedy revolves around the last days of Willy Loman, a struggling salesman, who cannot understand how he has failed to win success and happiness. As we journey back through Willy’s memories, we discover how his quest for the “American Dream” has kept him blind to the people who truly love him. A thrilling work of deep and revealing beauty, Death of Salesman remains one of the most profound dramas of American theatre.
MEET THE CAST
Denis Foot, 71, from Benfleet is playing the role of Willy Loman
When did you start to take an interest in theatre? Did you take part in any productions at school?
I acted in a production of ‘Coppelia’ when I was at Primary School. I played Dr. Coppelia apparently. I have no memory of it but it made my mother cry, so I presume I was ok.
Are or were any members of your immediate family involved in drama?
My parents were members of an amateur operatic company, so I got bitten by the magic of being on the stage very early on. My wife was a professional dancer.
Have you done any sort of formal training for acting/singing/dancing?
I did Drama as part of my teacher training and have taught Drama at Secondary School level for many years. I haven’t had any formal training in acting specifically.
Do you have any specialist skills – anything from stilt walking to dress-making – which you work into your repertoire?
Nothing that immediately springs to mind. I can sing and have taken lead roles in several musicals for the Westcliff Operatic Society over 30 yrs ago now!
Which experience/role do you regard as the highlight of your amdram career to date?
Many years ago in the late 1970s I played Fagin for the Westcliff Operatic Society at the Cliffs Pavilion. More recently I played Trotter in Journey’s End for the SSC. I was very proud to be a part of that wonderful production. I was also part of the cast of The Playboy Of The Western World which was tremendous fun.
What has been your most embarrassing moment involving drama, on or off stage?
In our production of ‘Flare Path’ one night I entered about two pages early and found myself staring at the audience wondering what on Earth I should do. It was, of course, a key moment of the play. I managed to get out of it but time seemed to stand still for a while.
How do you earn your living?
I’m retired now but I used to be a teacher.
Following on from the previous question, has your theatre career ever been useful in your day job, and/or have you ever drawn on your day job for any of your stage activities?
My theatre experience helped me enormously both when teaching Drama and in my general teaching. The ability to project your voice can be important! As an English teacher it helped to be able to give a passable performance when reading aloud to the class. Many teachers will tell you that acting is an important part of the job!
Are your friends mostly involved in theatre - perhaps even working with you on a regular basis - or do you socialise across a wider circle?
My friends tend to be ex colleagues but I have made some good friends amongst the SSC and am greatly enjoying their company.
Which actor do you most admire and why?
I’m a great fan of David Suchet, Emma Thompson and Judy Dench, but if I had to pick one actor I think it would be Kenneth Branagh. They are all able to make you forget you are watching a performance.
What role would you most like to play and why?
I’ve always wanted to play King Lear. It’s a great test of an actor but it’s also my favourite Shakespeare play. This role of Willy Loman has also been on my bucket list.
Ever corpsed on stage? What happened?
I can’t recall corpsing in a performance but there have been many times in rehearsal. ‘Playboy of the Western World’ was a classic example. The play was hilarious and the cast got on really well together so there was lots of laughter. Watching Andy Sugden’s portrayal of the puritanical, Zeal of the Land Busy, (one of the greatest character names I have ever heard) in Bartholomew Fair was very entertaining.
Tell us a bit about your part in “Death Of A Salesman”.
I play Willy Loman, a ‘drummer’ or travelling salesman. Business is bad for Willy and he’s having to keep the family afloat by secretly borrowing money from his neighbour Charley. His relationship with his two sons is also breaking down. The onset of old age and the burden of his troubles has put him very near to total mental collapse. In the play we see him ruminating on the past, and gradually the truth of his life emerges from the dark corners of his mind. His stubborn refusal to face reality and his reliance on a hugely overblown dream of what might have been has ruined his life and that of his family. It is a great part and I hope to do it justice.
Any plans for the future, after "Death Of A Salesman”?
I am looking forward to assisting Dave Lobley who is directing our forthcoming production of Antigone.
Any tricks for remembering your lines or other useful tips to pass on to others involved in drama?
Do a little every day, get that under your belt and move on. I go for walks and say the lines over to myself. I get some odd looks sometimes!
I acted in a production of ‘Coppelia’ when I was at Primary School. I played Dr. Coppelia apparently. I have no memory of it but it made my mother cry, so I presume I was ok.
Are or were any members of your immediate family involved in drama?
My parents were members of an amateur operatic company, so I got bitten by the magic of being on the stage very early on. My wife was a professional dancer.
Have you done any sort of formal training for acting/singing/dancing?
I did Drama as part of my teacher training and have taught Drama at Secondary School level for many years. I haven’t had any formal training in acting specifically.
Do you have any specialist skills – anything from stilt walking to dress-making – which you work into your repertoire?
Nothing that immediately springs to mind. I can sing and have taken lead roles in several musicals for the Westcliff Operatic Society over 30 yrs ago now!
Which experience/role do you regard as the highlight of your amdram career to date?
Many years ago in the late 1970s I played Fagin for the Westcliff Operatic Society at the Cliffs Pavilion. More recently I played Trotter in Journey’s End for the SSC. I was very proud to be a part of that wonderful production. I was also part of the cast of The Playboy Of The Western World which was tremendous fun.
What has been your most embarrassing moment involving drama, on or off stage?
In our production of ‘Flare Path’ one night I entered about two pages early and found myself staring at the audience wondering what on Earth I should do. It was, of course, a key moment of the play. I managed to get out of it but time seemed to stand still for a while.
How do you earn your living?
I’m retired now but I used to be a teacher.
Following on from the previous question, has your theatre career ever been useful in your day job, and/or have you ever drawn on your day job for any of your stage activities?
My theatre experience helped me enormously both when teaching Drama and in my general teaching. The ability to project your voice can be important! As an English teacher it helped to be able to give a passable performance when reading aloud to the class. Many teachers will tell you that acting is an important part of the job!
Are your friends mostly involved in theatre - perhaps even working with you on a regular basis - or do you socialise across a wider circle?
My friends tend to be ex colleagues but I have made some good friends amongst the SSC and am greatly enjoying their company.
Which actor do you most admire and why?
I’m a great fan of David Suchet, Emma Thompson and Judy Dench, but if I had to pick one actor I think it would be Kenneth Branagh. They are all able to make you forget you are watching a performance.
What role would you most like to play and why?
I’ve always wanted to play King Lear. It’s a great test of an actor but it’s also my favourite Shakespeare play. This role of Willy Loman has also been on my bucket list.
Ever corpsed on stage? What happened?
I can’t recall corpsing in a performance but there have been many times in rehearsal. ‘Playboy of the Western World’ was a classic example. The play was hilarious and the cast got on really well together so there was lots of laughter. Watching Andy Sugden’s portrayal of the puritanical, Zeal of the Land Busy, (one of the greatest character names I have ever heard) in Bartholomew Fair was very entertaining.
Tell us a bit about your part in “Death Of A Salesman”.
I play Willy Loman, a ‘drummer’ or travelling salesman. Business is bad for Willy and he’s having to keep the family afloat by secretly borrowing money from his neighbour Charley. His relationship with his two sons is also breaking down. The onset of old age and the burden of his troubles has put him very near to total mental collapse. In the play we see him ruminating on the past, and gradually the truth of his life emerges from the dark corners of his mind. His stubborn refusal to face reality and his reliance on a hugely overblown dream of what might have been has ruined his life and that of his family. It is a great part and I hope to do it justice.
Any plans for the future, after "Death Of A Salesman”?
I am looking forward to assisting Dave Lobley who is directing our forthcoming production of Antigone.
Any tricks for remembering your lines or other useful tips to pass on to others involved in drama?
Do a little every day, get that under your belt and move on. I go for walks and say the lines over to myself. I get some odd looks sometimes!
Below: Dennis and some of the cast in rehearsal
Cast List
Willy Loman Denis Foot
Linda Loman Joanne Seymour
Biff Dave Gardner
Happy Adam Mayhew
Charley Brian Eastty
Ben James Carter
Howard Simon Cannon
Bernard Henry Hewett Dawson
The Woman Tracey-Anne Bourne
Stanley Dave Lobley
Miss Forsythe Elena Clements
Letta Megan Condon
Jenny Jacquee Storozynski-Toll
Children’s voices Joe Thorogood
Arya Storozynski
Backstage
Stage Manager Matthew Willis
Ass. Stage Manager Vanessa Osborn
Props and Rehearsal prompt Jane Brown
Costumes Jacquee Storozynski-Toll
Lighting Design Richard Foster
Lighting Operator Liam Bailey
Sound Parker- Jace Martin
Transport Liam Bailey
Business Manager James Carter
Publicity SSC Pubsubcom
Set design Tracey Peacock
Madeleine Ayres
James Carter
Assistant Director Bruce Moore
Director Malcolm Toll
For more information about the SSC visit our website at
southendshakespeare.org.uk
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Willy Loman Denis Foot
Linda Loman Joanne Seymour
Biff Dave Gardner
Happy Adam Mayhew
Charley Brian Eastty
Ben James Carter
Howard Simon Cannon
Bernard Henry Hewett Dawson
The Woman Tracey-Anne Bourne
Stanley Dave Lobley
Miss Forsythe Elena Clements
Letta Megan Condon
Jenny Jacquee Storozynski-Toll
Children’s voices Joe Thorogood
Arya Storozynski
Backstage
Stage Manager Matthew Willis
Ass. Stage Manager Vanessa Osborn
Props and Rehearsal prompt Jane Brown
Costumes Jacquee Storozynski-Toll
Lighting Design Richard Foster
Lighting Operator Liam Bailey
Sound Parker- Jace Martin
Transport Liam Bailey
Business Manager James Carter
Publicity SSC Pubsubcom
Set design Tracey Peacock
Madeleine Ayres
James Carter
Assistant Director Bruce Moore
Director Malcolm Toll
For more information about the SSC visit our website at
southendshakespeare.org.uk