DEATH OF A SALESMAN 2026 Previews- Page 4
DEATH OF A SALESMAN 2026 Previews
DEATH OF A SALESMAN 2026 Previews#75
Posted: 3/31/26 at 11:06pm
C4b2a3b said: "https://aviewfrommyseat.com/large-photo/444043/Winter+Garden+Theatre/section-Orchestra%20C/row-B/seat-115/
I was thinking of getting 2nd row center orchestra for my in laws. The seat above is the first row. Maybe 2nd row is too close? They like sitting close. But the next thing available in center orchestra is Row M.
Thanks in advance!"
I didn’t sit quite that close but was in Row F on the side, which was the fourth row in that location. That looks a tad close but I like sitting close for plays too. It is not like your parents will miss any tap dancing. There are a couple of things in this production they might miss that is at floor level, but it’s fairly obvious. Row M would be a safe choice but not as good for facial expressions. It all depends on what your parents prefer. Sorry to hedge.
DEATH OF A SALESMAN 2026 Previews#76
Posted: 3/31/26 at 11:15pm
MezzA101 said: "Nathan Lane scheduled for "Colbert" tonight."
He’s probably the closest we have to a professional talk show guest these days. Since this is probably his last time on Colbert, I hope they give him an extended segment.
Broadway Legend Joined: 5/28/05
DEATH OF A SALESMAN 2026 Previews#77
Posted: 4/1/26 at 4:52pm
This was some of the best acting I've seen on stage in a long time. Joe Mantello and his cast really have something special here. I was thoroughly impressed.
Broadway Legend Joined: 10/13/03
DEATH OF A SALESMAN 2026 Previews#78
Posted: 4/1/26 at 6:16pm
Just back from the matinee, and stunned. It's remarkable.
Joe Mantello strips it of excess homage and places it down center with a startling immediacy. Gone is the poetic prism on the house. But it’s not bare bones deconstruction; the world of the play has a decided theatrical capture but freed of 1948 specific tropes. The audacious movement to the early 60s gives the text a different post war context, since Miller anticipated an America split open by midcentury greed and mounting disillusionment. These men - maybe all of them but Happy - seem to be fighting against a major, and dreaded societal shift that’s just around the corner. As a boomer who was a child in the era depicted, I could feel the explosions on their way in America pressing against this family, Linda more included than ever. And it’s a stunning company.
Broadway Legend Joined: 4/1/13
DEATH OF A SALESMAN 2026 Previews#79
Posted: 4/1/26 at 6:22pm
MezzA101 said: "Nathan Lane scheduled for "Colbert" tonight."
He was fantastic. Watch HERE.
Equally fantastic was Marc Shaiman. He never took his eyes off Lane as he played, which is a skill I wish I possessed. To be completely "at one" with his instrument that he can devote his focus and be "at one' with the performer. Absolutely stunning and amazing musicianship.
Nathan Lane Performs “Laughing Matters” From “When Pigs Fly”.
DEATH OF A SALESMAN 2026 Previews#80
Posted: 4/4/26 at 9:41pm
Saw this production this afternoon, and wow. The entire cast was wonderful, especially the core four. They were electric. I hope Metcalf wins Tony #3, and I think she will. Mantello’s direction is sharp. If anyone is on the fence, get tickets now. Plenty of cost-effective options, so don’t miss out on one of this season’s absolute highlights.
DEATH OF A SALESMAN 2026 Previews#81
Posted: 4/4/26 at 11:08pm
Auggie27 said: "Just back from the matinee, and stunned. It's remarkable.
Joe Mantello strips it of excess homage and places it down center with a startling immediacy. Gone is the poetic prism on the house. But it’s not bare bones deconstruction; the world of the play has a decided theatrical capture but freed of 1948 specific tropes. The audacious movement to the early 60s gives the text a different post war context, since Miller anticipated an America split open by midcentury greed and mounting disillusionment. These men - maybe all of them but Happy - seem to be fighting against a major, and dreaded societal shift that’s just around the corner. As a boomer who was a child in the era depicted, I could feel the explosions on their way in America pressing against this family, Linda more included than ever. And it’s a stunning company."
I feel a tad foolish for not catching the time period switch, in part because I was caught up in the performances and in part because there is no obvious signal that the years have passed. Was it just some of the costumes in the ‘present day’? It makes a bit more sense that way, even though the play was written and originally set in the late 1940s.
DEATH OF A SALESMAN 2026 Previews#82
Posted: 4/5/26 at 9:41am
bear882 said: "Auggie27 said: "Just back from the matinee, and stunned. It's remarkable.
Joe Mantello strips it of excess homage and places it down center with a startling immediacy. Gone is the poetic prism on the house. But it’s not bare bones deconstruction; the world of the play has a decided theatrical capture but freed of 1948 specific tropes. The audacious movement to the early 60s gives the text a different post war context, since Miller anticipated an America split open by midcentury greed and mounting disillusionment. These men - maybe all of them but Happy - seem to be fighting against a major, and dreaded societal shift that’s just around the corner. As a boomer who was a child in the era depicted, I could feel the explosions on their way in America pressing against this family, Linda more included than ever. And it’s a stunning company."
I feel a tad foolish for not catching the time period switch, in part because I was caught up in the performances and in part because there is no obvious signal that the years have passed. Was it just some of the costumes in the ‘present day’? It makes a bit more sense that way, even though the play was written and originally set in the late 1940s."
There's nothing in this production that indicates a time change.
Broadway Legend Joined: 6/13/04
DEATH OF A SALESMAN 2026 Previews#83
Posted: 4/5/26 at 11:54am
I was knocked out by this production. After the Winter Garden practically swallowed GOOD NIGHT AND GOOD LUCK whole, I was convinced a straight play with one set could never work in the massive space, but this mounting is perfectly suited to the venue.
Breathtaking performances, especially from the four leads. I thought the last thing Broadway needed was another SALESMAN, but I should’ve known better than to underestimate Lane, Metcalf, and Mantello. There were moments where you could truly hear a pin drop. I was moved in a way I hadn’t yet experienced with SALESMAN.
What might have felt familiar and old hat suddenly feels urgent, alive and brimming with authenticity. It’s a reminder that great revivals don’t always have to reinvent the material. Sometimes it’s more than sufficient to dust them off and extract their time-transcending truths that made them classics to begin with.
Broadway Legend Joined: 3/30/17
DEATH OF A SALESMAN 2026 Previews#84
Posted: 4/5/26 at 12:10pm
Agree. Montello really hits it out of the park with this adjustment and new staging of the material. The cast is all on point.
I did not enjoy the previous revival. It was quite basic any regional could have produced/directed. Including the cast and their choices.
This revival feels elevated, smart and original for being a classic thanks to Montello and cast.
Featured Actor Joined: 3/17/09
DEATH OF A SALESMAN 2026 Previews#85
Posted: 4/5/26 at 12:48pm
WiCkEDrOcKS said: "I was knocked out by this production. After the Winter Garden practically swallowed GOOD NIGHT AND GOOD LUCK whole, I was convinced a straight play with one setcould never work in the massive space, but this mounting is perfectly suited to the venue.
Breathtaking performances, especially from the four leads. I thought the last thing Broadway needed was another SALESMAN, but I should’ve known better than to underestimate Lane, Metcalf, and Mantello. There were moments where you could truly hear a pin drop. I was moved in a way I hadn’t yet experienced with SALESMAN.
What might have felt familiar and old hat suddenly feels urgent, alive and brimming with authenticity. It’s a reminder that great revivals don’t always have to reinvent the material. Sometimes it’s more than sufficient to dust them off and extract the time-transcending truths in them that made them classics to begin with.
"
Please never stop posting on here! I love reading your thoughts!
DEATH OF A SALESMAN 2026 Previews#86
Posted: 4/5/26 at 3:03pm
Saw this last week and clearly was impressed and engaged having seen quite a few productions of the piece. The set was intriguing. I guess when you're told that you get the Winter Garden for a basic kitchen sink drama one tries to blow out the walls and rethink it. Since so much of Salesman is a memory play it makes sense to take it out of the limitations of a standard kitchen. I don't recall ever seeing the automobile that Willy uses but having the show open with the entrance of a mid sixties Chevy as the centerpiece of the production you are transported into Willy's real world as a traveling salesman. The play seems to take place at the end of the 60's as I doubt that Willy could afford a new car. Actually, the automobile is the centerpiece and "star" of this production (take a look at the Playbill cover and poster art) which is quite fascinating and really pays off by the end. His life is in that automobile and not really in the traditional kitchen, hence the alienation he has with his family. As a car owner I can attest to how the mind wanders on long trips and the garage as mes en scene really captures the conflict between real and illusion as his mind begins to crumble between reality and fantasy. The stunning musical score also takes us on a journey to an unknown place of illusion/delusion. Overall, a daring choice that could only happen when you get to work in a space that one would never expect to accommodate a play like Salesman.
Updated On: 4/5/26 at 03:03 PMDEATH OF A SALESMAN 2026 Previews#87
Posted: 4/5/26 at 3:19pm
What is the make, model and year of the car on stage?
ETA: I found the answer to my own question. It is a 1964 Chevrolet Chevelle Malibu.
Broadway Legend Joined: 5/28/05
DEATH OF A SALESMAN 2026 Previews#88
Posted: 4/5/26 at 3:25pm
pagereynolds said: "There's nothing in this production that indicates a time change."
Except, of course, for the car (which is the centerpiece of the show) and the 1966 boombox on the ground upstage right, and the costume design. All of those seem to indicate a switch in the time period.
DEATH OF A SALESMAN 2026 Previews#89
Posted: 4/5/26 at 3:31pm
I believe in the Vulture interview with the cast and director, it is referred to as a 1964 Chevy Malibu which in itself tells us that we are in for a very different look at Salesman. The end of the war that is referred to in the script now becomes about Vietnam, which clearly has an impact on Biff and Happy. Come to think about it, as the draft ended in 1969, wouldn't these boys be drafted in the early 60's? I guess sometimes a new concept can just go so far when one doesn't have the option of changing the words of an extant script. All fascinating to ponder when a production is as successful as this one.
DEATH OF A SALESMAN 2026 Previews#90
Posted: 4/5/26 at 3:48pm
nycward said: "I believe in the Vulture interview with the cast and director, it is referred to as a 1964 Chevy Malibu which initself tells us that we are in for a very different look at Salesman. The end of the war that is referred to in the script now becomes about Vietnam, which clearly has an impact on Biff and Happy. Come to think about it, as the draft ended in 1969, wouldn't these boys be drafted in the early 60's? I guess sometimes a new concept can just go so far when one doesn't have the option of changing the words of an extant script. All fascinatingtoponder when a production is as successful as this one."
But if the show is set in the mid- or even late-‘60s, that means 17 years or so have passed between the ‘present day’ scenes and the flashbacks. Biff and Happy, 34 and 32 respectively, wouldn’t have been drafted for the Vietnam War in their 30s. The flashback scenes, when Biff is finishing high school, would still be set in the late ‘40s or 1950 or 1951 at the latest.
The car on stage is a 1964 Chevrolet Chevelle Malibu. It’s referred to as a Studebaker, which can be explained by the aging Willy Loman being an unreliable narrator, as Nathan Lane suggested an an interview, or because they didn’t want to mess with Arthur Miller’s script. Besides, a traveling salesman - and many other car owners - would have updated his car a lot in those days, so he may have had a Studebaker during the time of the flashbacks.
I suspect the most likely timeline is 1949 for the flashbacks and 1966 for the ‘present,’ give or take a year.
It doesn’t really change the revival in a dramatic way, but the car’s constant presence clearly places the show outside the late 1940s. I just didn’t focus on that, despite the car, because the show seemed to exist outside of time (aside from being set after World War II). But it explains the anomalies in a few costumes.
DEATH OF A SALESMAN 2026 Previews#91
Posted: 4/5/26 at 4:16pm
I mean, you can think whatever you want about the choice of car. (I was right up front and didn't see the boombox, I guess we were too far over.) The costumes other than maybe Happy's are 1940s era. There are no script changes at all. It's 1948.
DEATH OF A SALESMAN 2026 Previews#92
Posted: 4/5/26 at 5:56pm
pagereynolds said: "I mean, you can think whatever you want about the choice of car. (I was right up front and didn't see the boombox, I guess we were too far over.) The costumes other than maybe Happy's are 1940s era. There are no script changes at all. It's 1948."
But the choice of car, and its prominence in the revival, was a conscious decision by director Joe Mantello. I highly doubt it was because they couldn’t find a 1940s Studebaker. Even if Willy is an unreliable narrator, he wasn’t a time traveler to the future.
I watched the play from the fourth row and didn’t really focus on the fact that the car was obviously not 1940s-era.
I agree that the script is unchanged but the setting, which feels shadowy and almost timeless even with its flashbacks, does include a car made in 1964 in the middle of the stage.
There are different ways of interpreting this choice but ‘It’s 1948’ doesn’t feel like the right one.
DEATH OF A SALESMAN 2026 Previews#93
Posted: 4/5/26 at 9:40pm
Could not stop thinking about this all day today, so naturally had to buy another ticket for Tony Sunday.
DEATH OF A SALESMAN 2026 Previews#94
Posted: 4/6/26 at 4:46am
For those of us who always need more of a Laurie Metcalf fix, here's the trailer for Big Mistakes, the new series she is in with Dan Levy. Starts on Netflix this week.
Description from the NYT which foolishly does not mention her as the mother.
"The actor and comedian Dan Levy, probably best known for his droll stare and shenanigans as David Rose on “Schitt’s Creek,” is returning with “Big Mistakes.” This new comedy crime series, which he created with Rachel Sennott (writer and star of “I Love L.A.”) ups the ante on familial dynamics. But instead of following the unhinged-yet-lovable Rose family in a desolate Canadian town, Levy’s latest series will involve high-stakes deception. When two siblings (Levy and Taylor Ortega) commit a theft for their ailing grandmother, they find themselves in the world of organized crime and a spiral of blackmail. Begins streaming Thursday on Netflix."
DEATH OF A SALESMAN 2026 Previews#95
Posted: 4/6/26 at 5:32am
Death of a Salesman was devastating. As always. To take nothing away from Nathan Lane and Laurie Metcalf, I (still so much!) had those spectacular performances of Philip Seymour Hoffman and my wonderful Linda Emond on my mind that it was hard not to compare, even if Hoffman had seemed way too young for the role (also, it wasn't too long before his own actual suicide...). But Nathan and Laurie are such magnificent actors and such gifted comic actors that they were able to mine humor in unexpected places without hurting the characters or the play. Actually enhancing it in some parts. It is staged simply yet magestically, mostly on a naked platform with an ominous red Chevrolet in the background. Ben "Clock Twink" Ahers was terrific as Hap, but not quite as good as Finn Winrock was. For most of the play, it was clear that Christopher Abbott was much better than Andrew Garfield as Biff, but not really up to the level of his parents. But in his last scene with Willy, he achieved something I'd never seen before; it wasn't just Biff finally realizing the truth, he was actually tragically exercising something from himself to the point that you know that Biff was going to be okay! Abbott's terrific performance here even lifted Nathan's in that scene. And as good as Laurie's "attention must be paid" speech was, it was her eulogy at Willy's grave that broke me. The whole ending affected me to the point I really couldn't function for a while (it took me forever to just put stuff in my backpack and then when we left the theater we left at the back of the Winter Garden, I didn't even notice and were trying to head toward Times Square but we end up walking uptown). We were completely discombobulated by what we had just seen! It was that affecting of a production.
DEATH OF A SALESMAN 2026 Previews#96
Posted: 4/6/26 at 5:34am
Saw the matinee yesterday-- row 1 of the orchestra - center--- fabulous seat- lots of leg room- stage a little high- but not TOO high-- grab this seat for a fantastic experience---loved the show!!! These seats are fab!
DEATH OF A SALESMAN 2026 Previews#97
Posted: 4/6/26 at 10:56am
east side story said: "Saw this production this afternoon, and wow. The entire cast was wonderful, especially the core four. They were electric. I hope Metcalf wins Tony #3, and I think she will. Mantello’s direction is sharp. If anyone is on the fence, get tickets now. Plenty of cost-effective options, so don’t miss out on one of this season’s absolute highlights."
Aside from rush, what else would you think its the best cost-effective option?
DEATH OF A SALESMAN 2026 Previews#98
Posted: 4/6/26 at 12:12pm
Well Telecharge has all that info readily available for you, but just yesterday I purchased $99 orchestra seats, row F, on the aisle. They’re not giving tickets away, but there is also a promo code: DOASEARLY
DEATH OF A SALESMAN 2026 Previews#99
Posted: 4/6/26 at 12:22pm
east side story said: "Well Telecharge has all that info readily available for you, but just yesterday I purchased $99 orchestra seats, row F, on the aisle. They’re not giving tickets away, but there is also a promo code: DOASEARLY"
thank you!
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