I had the pleasure of watching this Arthur Miller classic tonight and was overjoyed at the various elements of the show from set to lighting to performance and I’d like to share some of those things with you. I do recommend checking it out if you get a chance. I find myself watching much more musical theatre nowadays and so it’s a refreshing surprise to catch some fantastic straight play action, in this case some tragedy mixed with humorous moments.

The set kind of exemplified this balance before the show even started. The backdrops were built up to the ceiling and so the space felt much larger and vast than previous productions, but there was also an intentionally oversized tree branch hanging directly above the center of the stage. It created this odd sight when thinking about the various indoor settings, but also fantastically captured this unease and tension that permeates the show as if it could drop and disrupt everything at any moment. Nice use of period props throughout as well without becoming cumbersome. Lighting helped illuminate different points of the stage so scenes could go back and forth. There was also a great use of low light near the end so we saw more like silhouettes of characters as they went through actions without dialogue. Speaking of action, I really enjoyed the directorial choice at the top of many scenes and moments to let action guide characters rather than jumping right into dialogue. There was trust in the choices and performers and even the audience to have the patience to accept it and I loved it.

On the performer side, everyone contributed in their various ways. I will admit up front, it is a long show, but it never feels slow. The dialogue is weighty, the scenes are intentional, and the characters all serve to flesh out who Willy Loman is at the heart of it all in this moment of his life (and some flashbacks). That is why Serena Olson as The Woman may have been very brief, but her moments were extraordinary both in plot necessity and in her characterization. She was terrific. I also loved the variety that Matthew Dunn brought to Bernard both in physicality and demeanor from his flashbacks and present day iteration. Todd Aragon was very likeable as Charley and had some of the knee slapper and groan worthy puns. And Carter Medlin maintained a regal and assured posture befitting Ben Loman based on Willie’s perceptions of him. I was once again blown away by Johnny Lach Sexton who likewise had a brief scene as Howard, but had a realistic, believable demeanor, and seemed to embody the qualities that we had already heard about his character from Willy earlier in the show.

Onto the family proper. The brothers were so integral to everything embodying different qualities and aspirations of their father and were played magnificently by Zane Begley as Happy and Jared Albano as Biff. Their camaraderie together was enviable and their animosity at times relatable. They both felt like very unique characters that developed in different ways believably based on the childhoods they received. Much of the tragedy arises from the unfulfilled desires of husband and wife to provide for each other in the ways they think are most important and Kim McNabb as Linda Loman and Nathan Rangel as Willy Loman do a wonderful job of towing the line between getting the audience to root for each of them, but also see the realistic imperfections of each. It is a testament to the writing that characters can be likeable even with their faults as well as a testament to the performers to then convey that to audience.
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I had a wonderful time and can recommend wholeheartedly. The show opened this weekend and runs until May 18.

We’re delighted to share that the Woodland Opera House will feature theatre reviews by TJ Fassler on our website—an addition that reflects something meaningful about how we aspire to show up in our theatre community.
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When I first encountered TJ's reviews, they reminded me of reviews by beloved LA theatre reviewer Steven Stanley, who publishes StageSceneLA, and is famous for his generous reviews that are always positive.  I initially found Steven Stanley’s always-positive approach puzzling—where was the critical edge? He explains that this is by design: when he can't honestly celebrate a production, he simply won't publish a review for it. He is intentional about how he uses his voice to impact the artistic community, preferring to elevate the works he appreciates rather than tear down. Most of all, he genuinely admires theatre-makers and recognizes that the work is hard and for many it is a labor of love.

This resonates with something I noticed shortly after joining the Opera House two years ago.  At the Theatre and Dance Annex (TADA) where we hold our classes, affirmative messages line the walls and mirrors for our young students. One that particularly moved me (and remains today) is the "THINK" poster asking: "Before you speak, THINK—are your words True, Helpful, Inspiring, Necessary, Kind?" It suggests that sometimes the most courageous act is withholding words that fail these criteria.
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