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The Tears at ‘Death of a Salesman’

that it changes perspective depending on the age of the viewer. Sitting in the audience might be... Salesman.” It’s enough to understand what propelled men like my father and two brothers to...

The Tears at ‘Death of a Salesman’

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The Tears at ‘Death of a Salesman’

April 26, 2026,

9:00 a.m. ET

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Lee J. Cobb, left, Mildred Dunnock and Arthur Kennedy in the first Broadway production of “Death of a Salesman,” in 1949.

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Cecil Beaton/Condé Nast, via Getty Images

To the Editor:

Re “

Why American Jews Still Weep for Willy Loman

,” by Eric Alterman (Opinion guest essay, April 18):

Mr. Alterman’s wonder at why he and his father cried at “Death of a Salesman” (which I have done over the decades that I have seen the play) only confirms my long-held belief: that it changes perspective depending on the age of the viewer.

Sitting in the audience might be a young person who wonders if this is the story of his father. What does he do for a living? Will he be able to support us?

Beside him, his middle-aged father wonders: Will this be my fate? Will I be able to keep my job? Am I a good father? And the grandfather whispers, “There but for the grace of God go I.”

No other play, in my opinion, has this ability to be read differently by different generations at the same time. Not Shakespeare, Chekhov, Ibsen or Albee. And this is what makes “Death of a Salesman” timeless.

Mashey Bernstein

Santa Barbara, Calif.

To the Editor:

Surely you don’t have to be Jewish to weep while seeing “Death of a Salesman.” It’s enough to understand what propelled men like my father and two brothers to embrace salesmanship. Not just as a way to make a living but also — what Arthur Miller understood so well — as a way of life.

My father always told me, “Son, whatever you do in life, you have to sell yourself.” Which is why I never wanted to be a salesman.

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