Arthur Miller's "Death of a Salesman" is an intensely pessimistic work. Of course the most recent plays of Tennessee Williams and Eugene O'Neill also deal with human disillusionment. But first and last, Blanche DuBois of "Streetcar" is a woman--a fascinating, living one--while Miller has intended Willy Loman to represent more than just one man. Willy is more than a husband, a father, or a salesman who is failure. He is a man whom we see crushed to death by the world, and he is a symbol of all such men. That is the basic reason for the pessimism of "Death of a Salesman."

The play is most compelling in its treatment of Willy Loman's personality. The significance of the salesman's death may be great, or it may be inconsequential; a long perspective is necessary to judge. But, in any case, it is Willy Loman who interests us, and in this character Miller has created a magnificent acting part.

In the role Thomas Mitchell moves with superb case from one thought to another, from the present to the past. His acting is restrained for the most part, and it is completely convincing. Willy Loman's emotions, ideals, hopes, and eventual disillusionment are all terrifyingly real. That is Thomas Mitchell's best praise.

The cast, without exception, is excellent Peggy Allenby, as Linda Loman, presents a subtly shaded characterization in a part that could have been no more than a mirror of the salesman's mind. As Willy's sons, Darren McGavin and Paul Langton become distinct individuals, each with some of their father's traits. Willy's brother Ben and his friend Charley are both finely-drawn by Royal Beal and Howard Smith.

Miller's drama is one of constant transition, and a great deal of the success of these progressions depends on the supporting cast. In every case the transitions were effortless and inevitable--a fine tribute to the direction of Elia Kazan, the acting of the company, and the technical excellence of Miller's script. Jo Mielziner's setting and lighting play an integral part in the action.

It would be hard to imagine a production more expressive of Arthur Miller's creation. It would be even harder to imagine a drama more worthy of the effort and talent that has been given to "Death of a Salesman."