ABSTRACT
There were two major productions of Death of a Salesman in the early eighties, both interestingly similar, both interestingly different. One was at the National Theatre in London, with Warren Mitchell as Willy Loman, and the other at the Broadhurst in New York, with Dustin Hoffman in the role. Both were, as it happened, staged by the same director, an American long resident in Britain, Michael Rudman. Both reportedly received a good deal of input from Arthur Miller himself, and hence presumably reflected, at least to some extent, his own views of the play.
