Miller’s story of this dream gone wrong is set in the late 1940s in New York City. Willy Loman is a salesman in the later years of his life, although we never find out what he is selling. What we do know is that his aspirations are high and that he has spent his whole life selling these aspirations to his two sons.

As his hopes for wealth, status and an idealised family life come to naught, he develops a fantasy of a past that didn’t exist. His claims to have won fortune and friends from pioneering sales trips to New England are shown as delusional, and his endeavours to form his older son in his own image are seen to unravel.

Whilst Willy’s younger son, Happy, is happy to consume the dream (it’s all there in the name), his older son Biff comes close to being destroyed by it. Born of a different mould, Biff’s money-making skills are next to zero, and his yearnings are for a life in the open air. Slowly, the tension builds between Biff and Willy, complicated by Biff’s love for a father whom he knows to be a fake. The eventual explosion of their relationship is the climax of the play.

David Hayman’s brilliant portrayal of Willy Loman puts flesh on a character who shifts constantly between overblown optimism and deep pessimism. At one point, his character boasts of the money he has made. At the next, a broken old man, he begs money from a neighbour to pay his insurance. Hayman’s performance gives just the right edge to Willy’s vacillations, from moments of exhilaration to moments of fantasy and inevitable breakdown.

The relationship between Biff (Daniel Cahill) and Happy (Michael Wallace) is credible and compelling. Their sibling affinity brings them together, whilst their different world views force them apart in a constant emotional seesaw.

Linda (Beth Marshall), wife to Willy and mother to their sons, is only too aware of the risks of Willy’s unravelling and seeks to shore him up. Scenes between different groupings within the family are full of potency, and disclosure of the lies they live are points of high dramatic tension.

The set of semi-transparent horizontal slats is lit by changing light effects, shifting the mood from bright blue to sombre tones. Within the slats is an inner space where present-day action takes place. Beyond, with a backdrop of beautiful trees, is a space that signifies Willy’s illusory world. As well as moving between the two zones, characters move between present and past, revealing the impact of Willy’s dreams over time. Mood music is created by a live band on stage and by recorded music.

Miller’s gripping dialogue is given the prominence it deserves. Willy’s catchphrase, you have to be not just “liked” but “well-liked” in order to get on, is given full weight, as are the references to buying household goods that are well advertised and therefore reliable. The humour in the play comes through, although it is wry and dry.

Death of a Salesman is a timeless story and this production gives full rein to its caustic commentary on the notion that anyone, regardless of background, can achieve success through hard work, determination and initiative. Instead, in this powerful dramatisation, we see that those who fall by the wayside are simply disposable.

The production was directed by Andy Arnold. Lighting design was by Rory Beaton and sound designer/composer was Niroshini Thambar. The set was designed by Neil Haynes. It was presented by Trafalgar Theatre Productions and Raw Material.

It runs at the Birmingham Rep until 15th March. For further information visit birmingham-rep.co.uk.