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Q&A: Death of a Salesman (Soulpepper)

Ari Cohen talks about his role in Soulpepper's acclaimed production

By Lauren Gillett • September 5, 2012

Joseph Ziegler and Ari Cohen in Arthur Miller’s Death of a Salesman. Photo by Cylla von Tiedemann.

Soulpepper’s Death of a Salesman returns to the Toronto stage this month in a remount of the award-winning 2010 production directed by Albert Schultz. Here, we chat with actor Ari Cohen about becoming the son of a salesman in this classic family tragedy (previews Sept 5 at the Young Centre for the Performing Arts).

Theatromania: How does it feel to be back on stage in Death of a Salesman? Have you learned anything new about the play this time around?

AC: It feels great. The fact that we (most of the cast*) have done the show before and that the production was well received, eliminates some of the anxiety that can accompany the launch of a new production. Death of A Salesman is a perfect play. It is a giant work of art, and we simply want to serve it well and honor it. Far from making us complacent in our task, we have the confidence to know that the starting place is solid and we now have an opportunity to dig a little deeper, to mine it’s depth and complexity. We are constantly making new discoveries. It’s very exciting to be back at it.

*Mike Ross joins us as Happy this time around and is hitting it out of the park.

Theatromania: Tell us about your character, Biff.

AC: We see Biff both in the present at 34, and in flashbacks as Willy imagines him at 17. One of the challenges of this character is simply playing someone over an age range of 17 years. The young Biff was a high school quarterback with scholarships to three universities. A golden boy. A winner. A singular event that he experienced rocked him to his core and transformed the course of his life. The 34-year-old Biff is somewhat adrift, going from job to job and unable to make sense of his life and the strained relationship with his father. His journey through the play is a coming to terms of both his past and the myths that shaped him, leading ultimately to a climactic confrontation with Willy.

Theatromania: What are some of the challenges with this particular piece?

AC: I suppose the greatest challenge is being open to the emotional depths demanded in the performance of this play. One need only hear the title of this play to know that it is a tragedy. It requires a great commitment from the cast to be true to the emotion of the piece without veering into melodrama. Not that it is all doom and gloom. There are a few laughs. It is very human.

Theatromania: Do you have a favourite scene to perform?

AC: As young Biff I get to pretend to be a high school football hero and that is pretty fun. Also, the final confrontation scene of the play is a great gift for an actor. It is beautifully written and a joy to play.

Theatromania: You are also starring in David Mamet’s Speed-The-Plow until September 22. Is it difficult to alternate between roles?

AC: Not really. We had been up and running with Speed-The-Plow for quite some time before beginning rehearsals for Salesman. The fact that Salesman is a remount has made the process manageable. Far from easy, but manageable. I was lucky enough not be rehearsing both at the same time. They are very different parts and very different plays. As long as I put on the right blue suit at 7:30, I should be ok.

Theatromania: What has been the best part of this experience so far?

AC: Well, I feel very lucky to have another chance to perform is what is arguably the greatest Amercan play of the 20th century. The fact that I get to do it with some of the very finest actors in the country is a tremendous blessing.

Death of a Salesman runs from September 5 to October 6 at the Young Centre for the Performing Arts. Visit Soulpepper.ca for more information and to buy tickets.