The epiphany is too late in the piece, Willy having devoted a lifetime to contradictions about what he wants from his sons that Biff cannot reconcile. “Isn’t that remarkable?” realises Willy, “Biff, he loves me, he always loved me.” The play’s masculine folklore of the pioneering forefather, the sons vying for their father’s approval, the father allowing pride to get in the way of expressing filial love, still resonate too of course. Today, generations will never own property because their government has purposefully distorted the market, unless they withdraw funds for insanely huge housing deposits from the bank of mum and dad. Willy and Linda bemoan that their appliances break down before they can pay them off, that the achievement of a mortgage being paid rings hollow when the house is emptied of children. The truth, of course, is that the growing disparity between rich and poor in the US, UK or Australia today marks Death of a Salesman with evergreen relevance.

Photograph: Prudence Upton/Sydney Theatre Company

Death of a Salesman’s masculine folklore of sons vying for their father’s approval still resonates.