Tony and Drama Desk Award-winning director Joe Mantello's hotly anticipated new production of Arthur Miller's Death of a Salesman has arrived on Broadway! Starring Nathan Lane and Laurie Metcalf, Death Of A Salesman explores the binding grip of the 'American Dream', winning the Pulitzer Prize and the Tony Award for Best Play in 1949, solidifying Arthur Miller as one of the greatest playwrights of the 20th century.

Take a read below to find out what the critics thought of Broadway's new revival.

The Reviews

The New York Times

"Mantello has leaned into the play's sense of abstraction Willy often loses himself in his own mind which has the effect of emphasizing both its timelessness and its timeliness. (Miller's working title was "Inside of His Head.") And there's no doubt that Mantello has made a beautiful, atmospheric production, full of exquisitely calibrated performances."

Theatermania

"From the breathtaking opening scene when a car drives onstage, its bright headlights shining into the audience, to the moment it backs out of Chloe Lamford's astonishing set, this Salesman dazzles. The cast, led by Nathan Lane and Laurie Metcalf, is exceptional, and Joe Mantello's direction is nothing short of perfection."

The Hollywood Reporter

"Down to the smallest roles, this production is astutely cast, and its arresting design elements add a suitably shabby grandeur to the play's unsparing view of America's broken promises. Mantello does some of his finest work in a heartfelt revival that will be remembered for the estimable Lane's career-crowning performance. It's magnificent theater."

Deadline

"But first and last, Salesman is Willy's story, and generation after Broadway generation has thrown its best into the role, from Lee J. Cobb, Fredric March (in the 1951 film), George C. Scott, Brian Dennehy and Dustin Hoffman to Philip Seymour Hoffman and Wendell Pierce. Lane takes his place among the best, his Willy Loman a powder keg of frustration and disappointment and deep, deep sadness. Lane uses his loud, outside voice to excellent effect, his shouts of exasperation and anger giving way to instant regret and recrimination. Watch, future Willys, and pay attention."

The Wrap

"As with his direction of the actors, however, Mantello likes to pour it on gooey. Each act is introduced with Caroline Shaw's overly somber music, reaching for but failing to achieve Philip Glass profundity. The fog machine never stops. The overkill begins even before you enter the Winter Garden. Black-and-white photos by Thea Traff (doing her Brigitte Lacombe best) feature the lead actors in stiff poses, trying hard to look terribly serious and appearing really ridiculous."

The Guardian

"Lane's trademark brassiness lends the character's long-winded rants an improbably winsome sheen, his embarrassments a piercing ache. There's a hypnotic rhythm to the madness of his Willy; when it's time to go, he nearly takes the show with him. It's a bravura turn, but the show's heart remains Linda, whom Metcalf imbues with crisp practicality. Dutiful, entirely un-naive and blisteringly angry, she is devastatingly economical even in her most withering and emotionally prostrate moments, Metcalf conveying the exhaustion of a woman used to holding everything together. Together, the two sell what remains, for all its nuances and boosted flavors here, a stark and gutting tragedy. I didn't always want to, but I found myself buying it."