The Gold Dust Orphans' production of "Death of a Saleslady" is at the same time everything and nothing like the Arthur Miller classic on which this modern adaptation is based. Though the general plot of this version mirrors the original about a washed-up salesman whose delusions of grandeur bring about the downfall of himself and of his family, the Orphans' adaptation incorporates many of their signature twists, the most striking of which are the gender reversals most of the characters, if not the actors themselves, undergo.
Miller's original salesman, Willy Loman, becomes Wilma, a sales representative for Mary Kay cosmetics. But the twist doesn't stop there: though Loman's character is now a female, the actor playing Loman remains as masculine as ever. Actor Larry Coen is remarkably convincing as a woman, and as the most dramatic character, he capably expresses Wilma's far-reaching emotions.
Bill Hough's portrayal Wilma's invalid husband, Lenny, isn't as compelling as Coen's performance. Hough often overacts, at times playing it overly submissive and weak, and at others exaggerating the drama of his lines.
The eldest Loman child Biff becomes former female cheerleader Buffy, and younger brother Happy becomes her lesbian sister, both portrayed by male thespians. Actor and playwright Ryan Landry, who founded the Gold Dust Orphans in 1995, takes on the role of Buffy. And while Landry pulls off the female role, the character of Happy is supposed to be a masculine girl, so the character's mannish clothing, hairstyle and lack of makeup prevent actor Scott Martino from looking female at all.
The difference between the two sisters isn't just cosmetic; the disparity in the way Wilma treats them is extremely well developed. Wilma has always favored "star" cheerleader Buffy, and Happy has always lived in her shadow.
The Gold Dust Orphan interpretation transforms Willy's kind-hearted neighbor Charlie into Charlene, an obnoxiously hardcore Republican who pokes fun at the Lomans' democratic principles. Ryan Maguire does a great job playing Wilma's only true friend; one almost forgets that the actor under Charlene's red-white-and-blue makeup and big hair is a man.
As for the supporting cast, Margaret Ann Brady, the production's only female actor, portrays Wilma's male boss, Howard, with accuracy, while Pixie Parker does an impressive job of creating distinct characters for Dimples, Buffy's illegitimate daughter, and Bernard, Charlene's nerdy son. And Ricardo Rodriguez plays both Carlos, the Pizza Hut manager, and a stripper. While he does a great job in the stripper role, Rodriguez's performance as Carlos is a little weak.
This "Death of a Salesman" spoof delivers great lines that draw on easily relatable lowbrow humor ("What's wrong with Velveeta? Why can't we get real cheese?") and quotes from other pop culture media ("You can't handle the truth!"). The bipartisan political comedy gives this play a fresh, modern flavor, as does Howard's newfangled cell phone that Wilma smashes with her shoe. Locals can especially appreciate the large amount of Boston jokes.
For such a small performance space and low budget, the set is highly effective and creative, although craning one's neck to see the sides of the stage is fairly awkward. The small space does work to the actors' advantage, though, in creating a sense of intimacy with the audience.
And despite all the gender reassignment that went into this adaptation, the cast's makeup is still surprisingly well done; even from the first rows, the actors' makeup looks very natural. (Well, as natural as it's supposed to look.)
The production uses an interesting concept to reveal the difference between real life and Wilma's delusions and flashbacks. The stage lights dim to an ethereal shade of red whenever Wilma slips away from reality. This singular change is the only signal of the transition from real time to dream world, but it's still enough so that the audience understands exactly what is going on.
A modern, comedic, gender-bending adaptation of "Death of a Salesman" is no easy feat to create. In fact, this production makes the original themes more pronounced than in "Salesman." One does not need to know Miller's play to understand that Wilma's family helps her keep up her denial about her failure in life.
The Gold Dust Orphans' production absolutely does justice to Miller's classic American tragedy, mixing their trademark slapstick comedy with poignant drama to create a modern play that reaches out to every audience member.
