Arthur Miller's extraordinary masterpiece, Death of a Salesman changed the course of modern theatre, and has lost none of its power as an examination of American life.

'A man is not an orange. You can't eat the fruit and throw the peel away'

Willy Loman is on his last legs. Failing at his job, dismayed at his the failure of his sons, Biff and Happy, to live up to his expectations, and tortured by his jealousy at the success and happiness of his neighbour Charley and his son Bernard, Willy spirals into a well of regret, reminiscence, and A scathing indictment of the ultimate failure of the American dream, and the empty pursuit of wealth and success, is a harrowing journey. In creating Willy Loman, his destructively insecure anti-hero, Miller defined his aim as being 'to set forth what happens when a man does not have a grip on the forces of life'.

About the Author

Arthur Miller was born in New York City in 1915 and studied at the University of Michigan. His plays include All My Sons (1947), Death of a Salesman (1949), The Crucible (1953), A View from the Bridge, A Memory of Two Mondays (both 1955), After the Fall (1963), Incident at Vichy (1964), The Price (1968), The Creation of the World and Other Business (1972) and The American Clock (1980). He has twice won the New York Drama Critics Circle Award, and in 1949 he was awarded the Pulitzer Prize. He died in New York in 2005, on the 56th anniversary of Death of a Salesman's Broadway debut.