Some may say that Arthur Miller’s play “Death of a Salesman” may be the greatest play of the 20^th century and there is evidence that supports that claim. It premiered on Broadway in 1949, winning the Pulitzer Prize for Drama and the TONY award for Best Play. The fifth Broadway revival is now playing at The Hudson Theatre starring Wendell Pierce and Sharon D. Clarke and is directed by Miranda Cromwell. Set in the 1940’s the plot follows protagonist Willy Loman, a traveling salesman who is disillusioned and disappointed with his life and seems to be experiencing periodic episodes which indicate signs of senility. He is facing his demons of infidelity and denial while experiencing the decay of the American Dream which all contribute to his self-destruction. It is just as relevant today, maybe even more so, as it was when written. It ranks among the top timeless pieces of literature.

Willy (an imposing Wendell Peirce) was once a top salesman traveling the northeast, but times have changed, and most sales are done by phone at the New York office, shrinking his commission salary to an amount that will not even cover the bills. He is married to Linda (a stalwart Sharon D Clarke) who bows to Willy’s ego but never falls prey to his convictions. Ms. Clarke walks a fine line between denial and perseverance. They have two sons, Happy (a cunning McKinley Belcher III) Who is a mere assistant to an assistant, and Biff (a bewildered Chris Davis) who is an ex-football star who could not take advantage of a scholarship because he flunked Math. All these characters are still living in dreams that have been shattered.

When confronting his boss, asking to be taken off the road and put into the New York office, his request is denied and he is reminded that he is worth nothing to the company, regardless of his years of service. Linda stands up to Willy but also ignores his infidelity and darns her silk stockings while Willy supplies his mistress with new pairs at every encounter. Happy walks, talks and spends like he is an assistant (money that comes from bribes) but in reality, he is a mere clerk in a department store. Biff has moves away after he doesn’t graduate and his loyalty to his father is destroyed when he catches him with his mistress.

This current iteration, although having some strong performances, is uneven and the creative team has made some odd choices that do nothing to embellish the production. The scenic design by Anna Fleischle is somewhat distracting and unnecessary as set pieces hang above the playing area until needed. Lighting by Jen Schriever is at times moody but cast strange shadows in certain scenes and the use of photo flashes to capture a memory seems obtrusive. Ms. Cromwell directs her cast with uncertainty which results in murky characterization.

This is not a terrible production it is just not one of the best. What makes it soar is the script and the delight one can take listening to words Mr. Miller has given to the members of this broken family. Although the tides have turned throughout the decades, his commentary on loyalty has never been more relevant today. However now it seems consumers and employers are the victims. Everything is offered to new customers and employees change jobs at the first offer of better salary and benefits. As for the American Dream, that became a nightmare years ago.