DEATH OF A SALESMAN 2026 Previews — Page 5

Well put. I think this production will receive quite a few critical valentines later today, and be a formidable presence this Tony cycle.

I pray that this production is presentedas a satellite broadcast, or filmed as some NT presentations are. Theworld should have a chance to see it. The world should always have a chance to see it.

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Absolutely. I think it is a masterpiece on all fronts. Also, the score is used so precisely to accentuate some moments creating an effect that I have rarely experienced in a theatre. I need a recording from Caroline Shaw right away!

I'll be there at tonight's opening and I can't wait.

I've read this play before but I haven't seen it, and it'll also be my first time seeing Metcalf in a show.

It may be a good production. Hell, it could be a great production. But I loath at the idea of giving Scott Rudin my money. Unless he had a "come to Jesus" moment, which to the best of my knowledge he hasn't, there's a good reason he was chased out of Broadway. But he's got an EGOT so theater owners will bend over for him. It's gross. No thanks.

Jumpin_J said: "It may be a good production. Hell, it could be a great production. But I loath at the idea of giving Scott Rudin my money. Unless he had a "come to Jesus" moment, which to the best of my knowledge he hasn't, there's a good reason he was chased out of Broadway. But he's got an EGOT so theater owners will bend over for him. It's gross. No thanks."

This is the only comment I care for in this thread. I don’t know why Broadway is welcoming this man back.

Jordan Catalano said: "As much praise as I can put on those two, equal praise needs to be given to Christopher Abbott who, in that last scene, broke my heart more than any actor has done in quite a while. I don't think I've ever cried like that during that scene (or this play) but he broke me. In fact, when I talk about this production to people 10, 15 years from now, that might be the first thing I'll remember about it, I just know it's going to live in my head for the rest of my life."

That scene is devastating.

The whole production builds to that scene. I don't think I've ever seen a scene on stage in which three actors are so perfectly in sync. I've seen two actors build off each other, but it's much harder to do with three. But they did it. As Jordan said, that is the scene I will remember when I think about this production, and I think I will remember it forever.

binau said: "BroadwayGirl107 said: "Jumpin_J said: "It may be a good production. Hell, it could be a great production. But I loath at the idea of giving Scott Rudin my money. Unless he had a "come to Jesus" moment, which to the best of my knowledge he hasn't, there's a good reason he was chased out of Broadway. But he's got an EGOT so theater owners will bend over for him. It's gross. No thanks."

This is the only comment I care for in this thread. I don’t know why Broadway is welcoming this man back."

You don't know why? Look at the art that is on stage, look at the reviews, look at the sales. After this production, I suspect we are going to see him back again and again. Personally, I just want to enjoy the art. I don't need to be the Police, someone can call the NYPD if he breaks the law and I would expect that he faces the full force of the law. Otherwise, I am not only happy to enjoy the show - but after this recent production, grateful. After Bernadette in Hello, Dolly and this show Scott Rudin has personally made my life better. The NYPD can deal with the rest."

Exactly the mindset that allowed him to abuse people for so long: the art is great, who cares what it took to get there?

Hold tight to those grudges and you’ll never leave the house again. Everyone is terrible. Go enjoy some theater.

binau said: "The question is who is accountable for policing his behaviour? Not me. There is a police department and other avenues that deal with his alleged behaviour. If you think Scott Rudin shouldn’t be working or hasn’t been held accountable for his behaviour why aren’t you taking this up with the police? If I recall one of the accusations was a physical assault. We already have systems in our society that deal with these problems.


I would also say that now that this is all so open people can choose to work with Scott Rudin or not and seemingly understand the risks they are taking. What do you say about the people that choose to work with him? Are they complicit or victims? Do you seemingly condemn the very people you are apparently concerned about for working with him?"

You know very well that if he becomes successful again, he will have all the protection he needs to keep keep abusing his staff again. Those trying to call him on his behavior will be seen as the bad people, trying to deprive actors and creatives of jobs and Broadway trying to keep art from being created because they, I guess in east side story's mind, "hold grudges."

binau said: "The question is who is accountable for policing his behaviour? Not me. There is a police department and other avenues that deal with his alleged behaviour. If you think Scott Rudin shouldn’t be working or hasn’t been held accountable for his behaviour why aren’t you taking this up with the police? If I recall one of the accusations was a physical assault. We already have systems in our society that deal with these problems."

I couldn't have said this better myself. It reminds me of the Ray Rice debacle, where people expected the NFL to severely punish him for his horrible assault when the criminal justice system basically let him go. Well, no, that's not a correct analysis at all. Employers aren't there to police crimes, and neither is the Broadway League; if the criminal justice system failed, take it up with them.

I don't intend for this to imply that anyone shouldn't use their own judgment about who they want to give their dollars to, and I myself am up in the air about this one. I just don't think the people who are working with him, or for him, or who buy tickets for one of his productions should be judged for failing to act when the NYPD itself couldn't be bothered.

Updated On: 4/10/26 at 11:27 AM

The hope/assumption I have is that he has changed his approach. To be clear, if he is continuing to abuse people I don't think he should be working (and I would hope and expect that people would just call the police for assault, choose to stop working with him etc.). Abuse is not ok and it doesn't justify what's on stage. I understand why people would be concerned about it continuing and I agree it's not ok. But if he has managed to change, and I think being nearly destroyed could be motivation enough to really rehabilitate, I want him to continue working because Broadway is a better place because of it.

Updated On: 4/11/26 at 05:23 AM

binau said: "We already have systems in our society that deal with these problems."

"We" and "our society"? Aren't you Australian? How is the issue of Rudin's behavior now Australia's problem?

binau also said: "What do you say about the people that choose to work with him? Are they complicit or victims?"

Here in the US, we see and live with this kind of duplicity on a daily basis. Bad people do really bad things that they are not held accountable for. Oh, dear. So nu/new. (cue music: Sondheim's "Now You Know" from Merrily We Roll Along.)

There is one editorial I can point to that suggests, "No, I’m Not Supporting “Death of a Salesman”. Yes, Scott Rudin Is the Reason.", which (IMO, and as I wrote elsewhere) is an immature tack for solving the issue. It's a bad choice to make because It's not just a title of a play that Chris Peterson (the writer) won’t support. There's an entire cast and crew. And a director. And both FoH and BoH. And definitely more people that I’m not familiar enough to be able to also name.

Making a choice to "not support" the production is literally making a choice to do nothing. (If you're not supporting, you're committing yourself to inaction.)

Why waste any breath on proclaiming an intention to do nothing?