Seattleplays.com review By Tom Scanlon
				Death of a Salesman Capitol Hill Arts Center closes May 8 (extended) Thurs. -- Sat. 7:30 p.m. 1621 12th Avenue 388-0500
		Early in the play, in giving his version of one of American theater’s great roles, David S. Klein seems a little . . . lost? It feels like his Willy Loman is all over the map, unanchored and drifting – the performance, not the character. Slowly and tenaciously, though, Klein sinks his teeth into the role, and by the end of the show has given an almost frighteningly realistic, layered performance.     This veteran actor is the focal point of an erratic, occasionally terrific show, directed by Aimee Bruneau. Coming from such a talented director, it is quite surprising that some of the physical side of the play is clumsy – the flash-back scenes to when Loman’s sons were boys tend to be difficult to watch, trite. While there is a “fight choreographer” given credit, the faux-fights are heavy on the faux.      As Biff and Happy, Garlyn Puano and Troy Fischnaller are much more enjoyable to watch as adults; thankfully, this is for most of the play. Puano expertly explores the conflicts of the Hamlet-esque Biff, who as a child was so pumped up for greatness by his father that he was almost destined to fail. And Fischnaller finds the right note of humor as Happy, happy-go-lucky, just not very lucky.      As Willy’s wife Linda, Sherry Narens gives a puzzling performance, often pedestrian, with flashes of intensity.      There is a disappointing lack of boldness to this production. Why not an all-African American cast? Or at least less white faces in the cast? Why not some more interested choreography?      Bruneau has landed some terrific core performances, and a fine base of a show; yet the fringes of the play are in dis-array, and there is surprisingly little new she uncovers. Where Miller is strongest, this play shines; where he is sketchy there is severe weakness, here.       At the risk of sacrilege, here goes: This play is over-written, occasionally maudlin and cliched, and perhaps 20 percent of it could be pared away (wouldn't this play be much more powerful without any of the flashbacks?).      And yet: It’s about the best we’ve got, and Arthur Miller’s creation of Willy Loman, that pathetic, hateful, jealous, irrational, poisoning, oddly sympathetic to the point of being heart-breaking, stands near the top of American literary creations.