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Death of a Salesman

The Barn Theatre, Southwick Community Centre.

October 9, 10, 11 & 12, 2013.


Death of a Salesman

by Arthur Miller

2451310_death-of-a-salesman_playbill
“Production leaves lasting impression”
– Shoreham Herald –

 

Directed by
Graham Till

Cast

Bob Ryder – Willy Loman

Pam Luxton – Linda

Guy Steddon – Biff

Phil Brown – Happy

Tony Brownings – Charley

Dan Dryer – Bernard

David Creedon – Uncle Ben

John Garland – Howard Wagner

Sophie Lane – Jenny / Letta

Judith Berrill – The Woman

Ian Grover – Stanley

Sarah Frost – Miss Forsythe

Katie Piper – Waitress

 

Production Crew

Assistant DirectorCaroline Woodley

Stage ManagerZoey Attree

Deputy Stage ManagerTerri Challis

Lighting EngineersMartin Oakley

Lighting EngineersMike Philips

Sound Set-UpRhys Skilling

Sound OperationAndy Viney

CostumeMargaret Pierce

CostumeCherry Briggs

CostumeCaroline Woodley

PropsCaroline Woodley

Workshop & SetCarl Gray

Workshop & SetJohn Cole

Workshop & SetDavid Comber

Workshop & SetNigel Goldfinch

Workshop & SetSue Chaplin

Workshop & SetJudith Berrill

Workshop & SetMargaret Davy

Workshop & SetSheila Neesham

Poster DesignJudith Berrill

PublicityAnna Quick

PublicityRosemary Bouchy

PublicityMargaret Pierce

PublicityJudith Berrill

HeadshotsRay Hopper

Front of House Co-ordinatorBetty Dawes
 

Programme Note #1: Death of a Salesman

GT wrote: “I am grateful to Wick Theatre Company for giving me the opportunity to direct this wonderful play. It has of course achieved high status for its literary merit – I first met it as a school set text – but it started out as, and still is, a moving and intensely powerful piece of theatre. I loved seeing it at the National Theatre with Warren Mitchell as Willy Loman, and I was reminded some years later when my eldest son read it for his American Studies degree that it was something I would like to do.

Miller’s original production was groundbreaking. He conceived a permanent set which is a mix of realistic and representational (‘a dream rising from reality’); his hero lives half in the present and half in his rose-coloured past, with the supporting cast around him helping play out his imaginings in and around his house – which is sometimes ‘there’ and sometimes not – and elsewhere; and the scenes which tell the story roll seamlessly one into another, with guidance for the audience provided more than anything by lighting changes and the use of music almost in a filmic way.

I wanted to stay as close to all this as possible (recreating a little 1940s atmosphere along the way) because I felt that it would be the best way to home in on the core themes: Willy’s disintegration, and the steadily building tension from his encounters with family members, friends and business associates, especially those with his elder son Biff. In fitting all this onto the Barn stage, I have placed many demands on a small army of contributors to whom I owe copious thanks.

And thank you, too, for coming. I hope you have an enjoyable evening.

 


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