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In the spring of 1948, Arthur Miller retreated to a log cabin in Connecticut with the first two lines of a new play already fixed in his mind. He emerged six weeks later with the final script of “Death of a Salesman” – a painful examination of American life and consumerism. Opening on Broadway the following year, Miller’s extraordinary masterpiece changed the course of modern theatre. In creating Willy Loman, his destructively insecure anti-hero, Miller himself defined his aim as being ‘to set forth what happens when a man does not have a grip on the forces of life.’