Miller Miller Everywhere… and an Off-Broadway Fiddler on the Roof with a difference

Arthur Miller died in 2005 but the Jewish-American playwright’s legacy lives on nowhere more fully than in England, where Miller has long enjoyed a critical reverence and approbation that haven’t always come his way in his native US. That truism is borne out anew this season with an astonishing array of Miller revivals – six in all – happening in relatively quick succession, some involving big names and notable reappraisals and the others comparatively below the radar.


Regardless of their comparative prominence, these Miller sightings should allow London audiences the sort of concentrated immersion in a particular playwright that tends to be reserved for, say, themed seasons of Shakespeare. There’s no evidence that anyone was coordinating these disparate Miller sightings but, taken together, the six revivals should focus attention anew on a dramatist whose best-known play,  Death of a  Salesman , famously reminds us that “attention must be paid”.


That proven, and blistering, classic is amongst the sextet to be found this season and will be bringing up the rear in May, with a Young Vic production directed by the twice Tony-winning director Marianne Elliott (Company, War Horse). An A-list all-black cast includes Wendell Pierce, from TV’s The Wire , as the hapless Willy Loman and two major British names, Sharon D. Clarke and Arinze Kene, as, respectively, Willy’s wife, Linda, and the more conflicted of their two sons, Biff.

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