Nathan Lane stars as Willy Loman in Death of a Salesman, a role he spent decades preparing for
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The demanding role requires Lane to perform nearly three hours nightly, navigating intense emotions and minimal breaks
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Lane, 70, hinted this production could mark his farewell to Broadway after more than 40 years on stage
Nathan Laneis taking on one of theater’s most demanding roles, and he’s not ruling out that it could be his last.
The three-time Tony Award-winning stage icon, 70, is currently starring as Willy Loman in Arthur Miller’sDeath of a Salesman, a role he toldThe Guardianhe spent decades preparing to feel ready to tackle.
“It’s taken this long to feel worthy of doing it,” Lane said in the interview about the drama, published on Wednesday, April 8. “I’m doing eight shows a week and I haven’t keeled over.”
That grind, he admits, is no small feat. “This eight-a-week stuff, it’s crazy,” Lane shared. “A play like this takes a toll and costs you to do it. It’s also the reason you want to do it.”
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The role’s intensity is part of its legend.
In Miller’s 1949 classic, Willy Loman is a struggling traveling salesman unraveling under the weight of his own expectations, chasing an American dream that no longer fits. The character is widely considered one of the most demanding in theater, requiring actors to remain onstage for most of the nearly three-hour play while navigating emotional collapse, memory and delusion in real time.
That grueling performance leaves little room to breathe. “It’s hard to explain unless you’re doing it," Lane said. "Nobody understands."
Even his intermission offers little relief.
“It’s, like, 10 minutes,” he said. “I pee, I have a cup of tea, I put the jacket back on and I go out and fight my way to the death.”
Over the years, Willy Loman has been defined by towering performances, beginning with Lee J. Cobb, who originated the role, and later interpretations by actors includingDustin Hoffman,Brian DennehyandPhilip Seymour Hoffman.
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Lane, for his part, is well aware of that legacy, referencing “Cobb’s wounded lion, Dustin’s tiny tyrant” and “Dennehy’s bipolar mountain of a man” when considering how others have approached the character.
Each performance has reshaped Willy Loman — a man who must balance charm, denial and quiet desperation, often all within the same scene.
The play also holds deep personal significance for Lane, who recalls being drawn to it as a child with after a 1966 televised broadcast of Cobb's performance.
“Other children were watchingGilligan’s Islandand I was more drawn to Miller’s indictment of capitalism,” he joked.
Lane made his Broadway debut in the 1982 production ofPresent Laughterand has since built one of the stage’s most celebrated careers. Equally revered for his comedic brilliance and dramatic range — from his scene-stealing performance as Max Bialystock inThe Producersto his haunting Roy Cohn inAngels in America— he has remained a defining presence in American theater, with a career that continues to evolve even now.
But more than four decades in his stage career, Lane is unclear about what comes next — or whether there is a next chapter on stage at all.
“Oh, Jesus, who the hell knows?” he toldThe Guardian. “This could be my farewell to Broadway.”
Death of a Salesmanopens on Thursday, April 9 at the Winter Garden Theatre in New York City. The play also stars Laurie Metcalf, Christopher Abbott, Ben Ahlers, Jonathan Cake, K. Todd Freeman, John Drea, Tasha Lawrence, Jake Silbermann, Michael Benjamin Washington, Joaquin Consuelos, Jake Termine, Karl Green, Jack Falahee, Katherine Romans, Mary Neely, Aidan Cazeau, Charlie Niccolini, Alexis Bronkovic, Erik Kilpatrick and Brendan Donaldson.
The revival runs through August 9.
Tickets toDeath of a Salesmanare now on sale.
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