Death of a Salesman

Death of a Salesman
First edition cover (Viking Press)
Written by	Arthur Miller
Characters	Willy Loman Linda Loman Biff Loman Happy Loman Ben Loman Bernard Charley The Woman Howard
Date premiered	February 10, 1949
Place premiered	Morosco Theatre New York City
Original language	English
Subject	The waning days of a failing salesman
Genre	Tragedy
Setting	Late 1940s; Willy Loman's house; New York City and Barnaby River; Boston

Death of a Salesman is a 1949 stage play written by American playwright Arthur Miller. The play premiered on Broadway in February 1949, running for 742 performances. It is a two-act tragedy set in 1940s New York told through a montage of memories, dreams, and arguments of the protagonist Willy Loman, a travelling salesman who is disappointed with his life, and appears to be slipping into senility. The play contains a variety of themes, such as the American Dream, the anatomy of truth, and betrayal. It explores the psychological chaos of the protagonist, and the capitalist society's impact on his life.^[1][2] It won the 1949 Pulitzer Prize for Drama and Tony Award for Best Play. It is considered by some critics to be one of the greatest plays of the 20th century.^[3]

Since its premiere, the play has been revived on Broadway four times,^[4] winning three Tony Awards for Best Revival. It has been adapted for the cinema on ten occasions, including a 1951 version from an adaptation by screenwriter Stanley Roberts, starring Fredric March.

Characters[]

• William "Willy" Loman: The titular salesman. He is 63 years old and unstable, insecure, and self-deluded. He vacillates between different eras of his life throughout the play, and re-imagines them as if they were real. Willy's age and degrading mental state has him appear childlike and reliant on others for support, coupled with his recurring flashbacks to various moments of his life. His first name, Willy, reflects this childlike aspect as well as sounding like the question "Will he?" His last name gives the feel of Willy's being a "low man", someone who will not succeed; however, this popular interpretation of his last name was dismissed by Miller.^[5]
• Linda Loman: Willy's loyal and loving wife. Linda is passively supportive and docile when Willy talks unrealistically about hopes for the future, although she seems to have a good knowledge of what is really going on. She chides her sons, particularly Biff, for not helping their father anymore, and supports Willy lovingly even though Willy sometimes treats her poorly, ignoring her opinions over those of others. She is the first to realize that Willy is contemplating suicide at the beginning of the play, and urges Biff to make something of himself, while expecting Willy to help Biff do so.
• Biff Loman: Willy's elder son. Biff was a football star with a lot of potential in high school, but failed math his senior year and dropped out of summer school when he saw Willy with another woman while visiting him in Boston. He wavers between going home to try to fulfill Willy's dream for him as a businessman or ignoring his father by going out West to be a farmhand where he feels happy. He likes being outdoors and working with his hands, yet wants to do something worthwhile so Willy will be proud of him. Biff steals because he wants evidence of success, even if it is false evidence, but overall Biff remains a realist and informs Willy that he is just a normal person and will not become a great man.
• Harold "Happy" Loman: Willy's younger son. He has lived in the shadow of his older brother Biff most of his life and seems to be almost ignored, but he still tries to be supportive toward his family. He has a restless lifestyle as a womanizer and dreams of moving beyond his current job as an assistant to the assistant buyer at the local store, but he is willing to cheat a little in order to do so, by taking bribes. He is always looking for approval from his parents, but he rarely gets any, and he even goes as far as to make things up just for attention, such as telling his parents he is going to get married. He tries often to keep his family's perceptions of each other positive or "happy" by defending each of them during their many arguments, but still has the most turbulent relationship with Linda, who looks down on him for his lifestyle and apparent cheapness, despite his giving them money.
• Charley: Willy's somewhat wisecracking yet kind and understanding neighbor. He pities Willy and frequently lends him money and comes over to play cards with him, although Willy often treats him poorly. Willy is envious of him because his son is more successful than Willy's. Charley offers Willy a job many times during visits to his office, yet Willy declines every time, even after he loses his job as a salesman.
• Bernard: Charley's son. In Willy's flashbacks, he is a nerd, and Willy forces him to give Biff test answers. He worships Biff and does anything for him. Later, he is a very successful lawyer, married, and expecting a second son – the same successes that Willy wants for his sons, in particular Biff. Bernard makes Willy contemplate where he has gone wrong as a father.
• Uncle Ben: Willy's older brother who became a diamond tycoon after a detour to Africa. Though long dead, Willy frequently speaks to him in his hallucinations of the past. He is Willy's role model, although he is much older and has no real relationship with Willy, preferring to assert his superiority over his younger brother. He represents Willy's idea of the American Dream success story, and is shown coming by the Lomans' house while on business trips to share stories.
• The Woman: A woman, whom Willy calls "Miss Francis", with whom Willy cheated on Linda.
• Howard Wagner: Willy's boss. Willy worked originally for Howard's father Frank and claims to have suggested the name Howard for his newborn son. However, he sees Willy as a liability for the company and fires him, ignoring all the years that Willy has given to the company. Howard is extremely proud of his wealth, which is manifested in his new wire recorder, and of his family.
• Jenny: Charley's secretary.
• Stanley: A waiter at the restaurant who seems to be friends or acquainted with Happy.
• Miss Forsythe: A girl whom Happy picks up at the restaurant. She is very pretty and claims she was on several magazine covers. Happy lies to her, making himself and Biff look like they are important and successful. (Happy claims that he attended West Point and that Biff is a star football player.)
• Letta: Miss Forsythe's friend.

Plot[]

Willy Loman returns home exhausted after a business trip he has cancelled. Worried over Willy's state of mind and recent car accident, his wife Linda suggests that he ask his boss Howard Wagner to allow him to work in his home city so he will not have to travel. Willy complains to Linda that their son, Biff, has yet to do something with his life. Despite Biff's potential as a football star in high school, he failed in mathematics and was therefore unable to enter a university.

Biff and his younger brother, Happy, who is temporarily staying with Willy and Linda after Biff's unexpected return from the West, reminisce about their childhood together. They discuss their father's mental degeneration, which they have witnessed in the form of his constant indecisiveness and daydreaming about the boys' high school years. Eventually, Willy walks in, angry that the two boys have never amounted to anything. In an effort to pacify their father, Biff and Happy tell him that Biff plans to make a business proposition the next day.

The next day, Willy goes to ask Howard for a job in town while Biff goes to make a business proposition, but they both fail; Willy gets angry and ends up getting fired when Howard tells him he needs a rest and can no longer represent the company, while Biff waits hours to see a former employer who does not remember him and turns him down. Biff impulsively steals a fountain pen. Willy then goes to the office of his neighbor Charley, where he runs into Charley's son Bernard, now a successful lawyer. Bernard tells him that Biff originally wanted to go to summer school to make up for failing math, but something happened in Boston when Biff went to visit his father that changed his mind. Charley gives the now-unemployed Willy money to pay his life-insurance premium, and Willy shocks Charley by remarking that ultimately, a man is "worth more dead than alive."

Happy, Biff, and Willy meet for dinner at a restaurant, but Willy refuses to hear bad news from Biff. Happy tries to get Biff to lie to their father. Biff tries to tell him what happened as Willy gets angry and slips into a flashback of what happened in Boston the day Biff came to see him: Willy had been in Boston for work, and Biff went to visit him to ask Willy to convince his teacher to curve Biff's failing math grade. Willy was in the middle of an affair with a receptionist, when Biff arrived unexpectedly at the hotel room, and saw the woman, who was half-dressed. Biff did not accept his father's cover-up story, and angrily dismissed him as a liar and a fake before storming out. From that moment, Biff's views of his father changed and set him adrift.

Biff leaves the restaurant in frustration, followed by Happy and two girls that Happy picked up, leaving a confused and upset Willy behind. When they later return home, Linda angrily confronts them for abandoning their father while Willy remains outside, talking to himself. Biff tries to reconcile with Willy, but the discussion quickly escalates into another argument. Biff conveys plainly to his father that he is not meant for anything great, insisting that both of them are simply ordinary men meant to lead ordinary lives. The argument reaches an apparent climax as Biff hugs Willy and begins to cry as he tries to get Willy to let go of his unrealistic expectations. Rather than listen to what Biff actually says, Willy appears to believe his son has forgiven him and will follow in his footsteps, and after Linda goes upstairs to bed, lapses one final time into a hallucination, thinking he is talking to his long-dead brother Ben. In Willy's mind, Ben approves of the scheme Willy has dreamed up to kill himself in order to give Biff his insurance policy money. Willy exits the house, and Biff and Linda cry out in despair as the sound of Willy's car blares up and fades out.

The final scene takes place at Willy's funeral, which is attended only by his family, Charley and Bernard. The ambiguities of mixed and unaddressed emotions persist, particularly over whether Willy's choices or circumstances were obsolete. At the funeral, Biff retains his belief that he does not want to become a businessman like his father. Happy, on the other hand, chooses to follow in his father's footsteps, while Linda laments her husband's decision just before her final payment on the house.

Themes[]

Reality and illusion[]

Death of a Salesman uses flashbacks to present Willy's memory during the reality. The illusion not only "suggests the past, but also presents the lost pastoral life." Willy has dreamed of success his whole life and makes up lies about his and Biff's success. The more he indulges in the illusion, the harder it is for him to face reality. Biff is the only one who realizes that the whole family lived in the lies and tries to face the truth.^[6]

Willy Loman[]

Willy Loman dreams of being a successful salesman like Dave Singleman, somebody who has both wealth and freedom. Willy believes that the key to success is being well-liked, and his frequent flashbacks show that he measures happiness in terms of wealth and popularity.^[7] One analyst of the play writes: "Society tries to teach that, if people are rich and well-liked, they will be happy. Because of this, Willy thought that money would make him happy. He never bothered to try to be happy with what he had."^[8] Willy also believes that to attain success, one must have a suitable personality. According to another analyst, "He believes that salesmanship is based on 'sterling traits of character' and 'a pleasing personality.' But Willy does not have the requisite sterling traits of character; people simply do not like him as much as he thinks is necessary for success."^[9]

Uncle Ben[]

Ben symbolizes another kind of successful American Dream for Willy: to catch opportunity, to conquer nature, and to gain a fortune. His mantra goes: "Why, boys, when I was seventeen I walked into the jungle, and when I was twenty-one I walked out. (He laughs.) And by God I was rich."^[7]

Biff[]

After seeing his father's real identity, Biff does not follow his father's "dream" because he knows that, as two analysts put it, "Willy does see his future but in a blind way. Meaning that he can and cannot see at the same time, since his way of seeing or visualizing the future is completely wrong."^[7]

Charley and Bernard[]

The hard work and dedication of Charley and Bernard are apparent from the Death of a Salesman. Willy criticizes Charley and Bernard throughout the play, but it is not because he hates them. Rather, it's argued that he is envious of the successes they have enjoyed, which is outside his standards.^[9]

The models of business success provided in the play all argue against Willy's "personality theory". One is Charley, Willy's neighbor and apparently only friend. Charley has no time for Willy's theories of business, but he provides for his family and is in a position to offer Willy a do-nothing job to keep him bringing home a salary.^[9]

Happy[]

Happy Loman is the youngest son. Although he isn't as athletic and physically good-looking as Biff, he is portrayed in a more positive light. Although he has had a couple of failed business ventures, he seems to be aware of his failure to make a living and this impacts him throughout the play. Happy Loman lives in the shadow of his older brother, Biff. Biff is the more athletic out of the two, a fact that Willy seems to bring up constantly throughout the play. Because of this, Happy seems to be a character that simply falls through the cracks when it comes to people paying much attention to him. He has no idea what is wrong with him that he can't move up in life and his family around him simply don't seem to care. It seems that Happy is a younger version of Willy Loman. Seemingly lost and alone with no one to turn to and no one to tell them how to fix their lives, Happy seems to be heading down the same path as Willy. Although the play focuses on Willy's character development, in the very end, Happy is also left desolate and alone without a purpose in life.^[10]

Tragedy[]

Arthur Miller creates his own version of a traditional tragedy by including aspects like comparing characters to Greek icons and centering the focus of the play on the life of a common man in Death of a Salesman. Willy Loman was a common salesman who was image driven and appearance was everything to him. He noted how appearance was a leading factor in sales, so Willy felt his sons were destined to have great success. In Terry Thompson’s academic journal, he explained how Willy Loman compared his sons to Hercules and that they were “built like Adonises” (Miller 33). This equalization to higher beings tied in the one of the traditional aspects of tragedies. In typical tragedies, the story was focused on royal beings with Oedipus and Orestes complexes. Arthur Miller wanted to show that the common man and those with status were more equal than people usually thought. They had the same mental processes and emotions to similar situations. Mankind cherishes tragedies so Miller felt that he should create a tragedy that resonates with his audiences to allow them to feel pity and fear for the characters since the audience may be feeling the same feelings in their own lives. A tragedy captivates the audience and should evoke feelings similar to those that are felt by the characters of the story.^[11][12]

Reception[]

This section relies largely or entirely on a single source. Relevant discussion may be found on the talk page. Please help by introducing citations to additional sources. Find sources:  –  ·  ·  · scholar · JSTOR (June 2015)

In the United States[]

Death of a Salesman first opened on February 10, 1949, to great success. Drama critic John Gassner wrote that "the ecstatic reception accorded Death of Salesman has been reverberating for some time wherever there is an ear for theatre, and it is undoubtedly the best American play since A Streetcar Named Desire."^[13]

In the United Kingdom[]

The play reached London on July 28, 1949. London responses were mixed, but mostly favorable. The Times criticized it, saying that "the strongest play of New York theatrical season should be transferred to London in the deadest week of the year." However, the public understanding of the ideology of the play was different from that in America. Some people, such as Eric Keown, think of Death of a Salesman as "a potential tragedy deflected from its true course by Marxist sympathies."^[13]

In Germany[]

The play was hailed as "the most important and successful night" in Hebbel Theater in Berlin. It was said that "it was impossible to get the audience to leave the theatre"^{[by whom?]} at the end of the performance. The Berlin production was more successful than New York, possibly due to better interpretation.^[13]

In India[]

Compared to Tennessee Williams and Beckett, Arthur Miller and his Death of a Salesman were less influential. Rajinder Paul said that "Death of a Salesman has only an indirect influence on Indian theatre practitions."^[13] However, it was translated and produced in Bengali as 'Pheriwalar Mrityu' by the theater group Nandikar. Director Feroz Khan adapted the play in Hindi and English by the name "Salesman Ramlal" played by Satish Kaushik and with the role of his son portrayed by Kishore Kadam.^[14][15]

In China[]

Death of a Salesman was welcomed in China. There, Arthur Miller directed the play himself. As Miller stated, "It depends on the father and the mother and the children. That's what it's about. The salesman part is what he does to stay alive. But he could be a peasant, he could be, whatever." Here, the play focuses on the family relationship. It is easier for the Chinese public to understand the relationship between father and son because "One thing about the play that is very Chinese is the way Willy tries to make his sons successful." The Chinese father always wants his sons to be 'dragons.'^[16]

Productions[]

The original Broadway production was produced by Kermit Bloomgarden and Walter Fried. The play opened at the Morosco Theatre on February 10, 1949, closing on November 18, 1950, after 742 performances. The play starred Lee J. Cobb as Willy Loman, Mildred Dunnock as Linda, Arthur Kennedy as Biff, Howard Smith as Charley and Cameron Mitchell as Happy. Albert Dekker and Gene Lockhart later played Willy Loman during the original Broadway run. It won the Tony Award for Best Play, Best Supporting or Featured Actor (Arthur Kennedy), Best Scenic Design (Jo Mielziner), Producer (Dramatic), Author (Arthur Miller), and Director (Elia Kazan), as well as the 1949 Pulitzer Prize for Drama and the New York Drama Critics' Circle Award for Best Play. Jayne Mansfield performed in a production of the play in Dallas, Texas, in October 1953. Her performance in the play attracted Paramount Pictures to hire her for the studio's film productions.^[17]

The play has been revived on Broadway four times:

• June 26, 1975, at the Circle in the Square Theatre, running for 71 performances. George C. Scott starred as Willy.
• March 29, 1984, at the Broadhurst Theatre, running for 97 performances. Dustin Hoffman played Willy. In a return engagement, this production re-opened on September 14, 1984, and ran for 88 performances. The production won the Tony Award for Best Revival and the Drama Desk Award for Outstanding Revival.
• February 10, 1999, at the Eugene O'Neill Theatre, running for 274 performances, with Brian Dennehy as Willy. The production won the Tony Award for: Best Revival of a Play; Best Actor in Play; Best Featured Actress in a Play (Elizabeth Franz); Best Direction of a Play (Robert Falls). This production was filmed.
• February 13, 2012, at the Ethel Barrymore Theatre, in a limited run of 16 weeks. Directed by Mike Nichols, Philip Seymour Hoffman played Willy, Andrew Garfield played Biff, Linda Emond played Linda, and Finn Wittrock played Happy.^[18]

It was also part of the inaugural season of the Guthrie Theater in Minneapolis, Minnesota in 1963.

Christopher Lloyd portrayed Willy Loman in a 2010 production by the Weston Playhouse in Weston, Vermont, which toured several New England venues.^[19]

Antony Sher played Willy Loman in the first Royal Shakespeare Company production of the play directed by Gregory Doran in Stratford-upon-Avon in the spring of 2015, with Harriet Walter as Linda Loman. This production transferred to London's West End, at the Noël Coward Theatre for ten weeks in the summer of 2015. This production was part of the centenary celebrations for playwright Arthur Miller.^[20]

The play ran until Saturday, 4 January 2020 at the Piccadilly Theatre in London, starring Sharon D. Clarke and Wendell Pierce.^[21]

Adaptations in other media[]

This section needs additional citations for verification. Please help by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2019) (Learn how and when to remove this template message)

• 1951: Adapted by Stanley Roberts and directed by László Benedek, who won the Golden Globe Award for Best Director. The film was nominated for Academy Awards for Best Actor in a Leading Role (Fredric March), Best Actor in a Supporting Role (Kevin McCarthy), Best Actress in a Supporting Role (Mildred Dunnock), Best Cinematography, Black-and-White, and Best Music, Scoring of a Dramatic or Comedy Picture.
• 1960: In USSR, directed by Theodore Wolfovitch as You Can't Cross the Bridge.
• 1961: En Handelsresandes död starring Kolbjörn Knudsen and directed by Hans Abramson (in Swedish).
• 1968: Der Tod eines Handlungsreisenden starring Heinz Rühmann and directed by Gerhard Klingenberg.
• 1966 (CBS): Starring Lee J. Cobb, Gene Wilder, Mildred Dunnock, James Farentino, Karen Steele, and George Segal and directed by Alex Segal.
• 1966 (BBC): Starring Rod Steiger, Betsy Blair, Tony Bill, Brian Davies, and Joss Ackland and directed by .
• 1979: En Handelsresandes död starring Carl-Gustav Lindstedt and directed by Bo Widerberg (in Swedish).
• 1985: Starring Dustin Hoffman, Kate Reid, John Malkovich, Stephen Lang, and Charles Durning and directed by Volker Schlöndorff.
• 1996: Starring Warren Mitchell, Rosemary Harris, Iain Glen, and Owen Teale and directed by David Thacker.
• 2000: Starring Brian Dennehy, Elizabeth Franz, Ron Eldard, , Howard Witt, and Richard Thompson and directed by Kirk Browning.
• 2008: Play within the film in Synecdoche, New York, starring Philip Seymour Hoffman.
• 2015: Radio drama, starring David Suchet and Zoë Wanamaker, directed by Howard Davies, and broadcast on BBC Radio 3.^[22]
• 2016: Play within the film in The Salesman (Forushande), acting as counterpoint to the main plot. Starring Shahab Hosseini, Taraneh Alidoosti, Babak Karimi, and directed by Asghar Farhadi.

Awards and nominations[]

Original Broadway production[]

Year	Award	Category	Nominee	Result
1949	Tony Awards	Best Play		Won
		Best Author of a Play	Arthur Miller	Won
		Best Producer of a Play	Kermit Bloomgarden & Walter Fried	Won
		Best Featured Actor in a Play	Arthur Kennedy	Won
		Best Director	Elia Kazan	Won
		Best Scenic Design	Jo Mielziner	Won
	New York Drama Critics' Circle	Best American Play	Arthur Miller	Won
	Theatre World Award		Cameron Mitchell	Won
	Pulitzer Prize	Drama	Arthur Miller	Won

1975 Broadway production[]

Year	Award	Category	Nominee	Result
1976	Tony Award	Best Actor in a Play	George C. Scott	Nominated

1984 Broadway production[]

Year	Award	Category	Nominee	Result
1984	Tony Awards	Best Revival		Won
	Drama Desk Award	Outstanding Revival		Won
		Outstanding Actor in a Play	Dustin Hoffman	Won
		Outstanding Featured Actor in a Play	John Malkovich	Won
			David Huddleston	Nominated
	Outer Critics Circle Award	Outstanding Revival		Won
		Outstanding Debut Performance	John Malkovich	Won

1999 Broadway production[]

Year	Award	Category	Nominee	Result nothing
1999	Tony Awards	Best Revival of a Play		Won
		Best Actor in a Play	Brian Dennehy	Won
		Best Featured Actor in a Play	Kevin Anderson	Nominated
			Howard Witt	Nominated
		Best Featured Actress in a Play	Elizabeth Franz	Won
		Best Direction of a Play	Robert Falls	Won
	Drama Desk Award	Outstanding Revival of a Play		Won
		Outstanding Actor in a Play	Brian Dennehy	Won
		Outstanding Actor in a Play	Kevin Anderson	Won
			Howard Witt	Nominated
		Outstanding Featured Actress in a Play	Elizabeth Franz	Nominated
		Best Director of a Play	Robert Falls	Nominated
		Outstanding Music in a Play	Richard Woodbury	Nominated
	Outer Critics Circle Award	Outstanding Revival of a Play		Nominated
		Outstanding Actor in a Play	Brian Dennehy	Nominated
		Outstanding Featured Actor in a Play	Kevin Anderson	Won
		Outstanding Featured Actress in a Play	Elizabeth Franz	Nominated
		Outstanding Director of a Play	Robert Falls	Nominated
	Drama League Award	Distinguished Production of a Revival		Won

2012 Broadway production[]

Year	Award	Category	Nominee	Result
2012	Tony Awards	Best Revival of a Play		Won
		Best Actor in a Play	Philip Seymour Hoffman	Nominated
		Best Featured Actor in a Play	Andrew Garfield	Nominated
		Best Featured Actress in a Play	Linda Emond	Nominated
		Best Direction of a Play	Mike Nichols	Won
		Best Lighting Design of a Play	Brian MacDevitt	Nominated
		Best Sound Design of a Play	Scott Lehrer	Nominated
	Drama Desk Award	Outstanding Revival of a Play		Won
		Outstanding Actor in a Play	Philip Seymour Hoffman	Nominated
		Outstanding Actor in a Play	Bill Camp	Nominated
		Outstanding Director of a Play	Mike Nichols	Won
		Outstanding Lighting Design	Brian MacDevitt	Won
	Outer Critics Circle Award	Outstanding Revival of a Play		Won
		Outstanding Actor in a Play	Philip Seymour Hoffman	Nominated
		Outstanding Featured Actor in a Play	Andrew Garfield	Nominated
		Outstanding Director of a Play	Mike Nichols	Nominated
		Outstanding Lighting Design	Brian MacDevitt	Nominated
	Drama League Award	Distinguished Revival of a Play		Won
	Theatre World Award		Finn Wittrock	Won
	Clarence Derwent Awards	Most Promising Male Performer		Won

2019 West End production[]

Year	Award	Category	Nominee	Result
2019	Critics' Circle Theatre Award[23]	Best Actress	Sharon D. Clarke	Won
	Evening Standard Theatre Award[24][25]	Best Actor	Wendell Pierce	Nominated
		Best Director	Marianne Elliott and Miranda Cromwell	Nominated
2020	Laurence Olivier Award[26]	Best Revival		Nominated
		Best Actor	Wendell Pierce	Nominated
		Best Actress	Sharon D. Clarke	Won
		Best Actor in a Supporting Role	Arinzé Kene	Nominated
		Best Director	Marianne Elliott and Miranda Cromwell	Won

See also[]

• Happy Lowman

References[]

Further reading[]

Editions[]

• Miller, Arthur Death of a Salesman (Harmondsworth: Penguin Books, 1996) ISBN 9780140247732. Edited with an introduction by . Contains the full text and various critical essays.

Criticism[]

• Hurell, John D. (1961). Two Modern American Tragedies: Reviews and Criticism of Death of a Salesman and A Streetcar Named Desire. New York: Scribner. pp. 82–8. OCLC 249094.
• Sandage, Scott A. (2005). Born Losers: A History of Failure in America. Cambridge: Harvard University Press. ISBN 978-0-674-01510-4.

External links[]

Wikimedia Commons has media related to Death of a Salesman.

Wikiquote has quotations related to: Death of a Salesman

• Death of a Salesman Summary
• Death of a Salesman at the Internet Broadway Database
• Character Analysis of Willy Loman
• Character Analysis of Linda Loman
• Death of a Salesman: A Celebration at the Wayback Machine (archived September 4, 2006), by Joyce Carol Oates
• Death of a Salesman Reviews at the Wayback Machine (archived January 13, 2014)

At Playbill Vault[]

• First Revival −1975
• Second Revival – 1984
• Third Revival – 1999
• Fourth Revival – 2012