Yet the right questions are there and in the story one can uncover much more than troubled family members tearing at each other, a theme that is a great strength but also often a limitation in the work of both Eugene O’Neill and Miller’s great contemporary Tennessee Williams. The destruction of illusions can be a harrowing experience and one exits The Price, much as I recall exiting the 1984 Dustin Hoffman revival of Salesmen, as needing some time to recover. But one of the great strengths of Broadway, the cost of tickets notwithstanding, is that it still provides a place where artists like Miller can lay bare the darkness at the heart of the profit system. With its obscene prices, Broadway skews toward the better-heeled and it’s easy (and true enough) to interpret any number of Miller’s plays, The Price included, as primarily about unfulfilled lives resulting from missed or stolen opportunities. It’s anybody’s guess what those who go to these many Miller revivals take away from his plays all these years later.
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