Nathan Lane electrifies in a daring ‘Death of a Salesman’

What’s most striking is the musicality of his voice. This isn’t a musical, and yet it often feels like one when he speaks. Lane shapes Miller’s language as if he’s singing it, or delivering a Shakespearean soliloquy—each phrase carefully pitched, rising and falling with rhythm and intention. He pivots in an instant from buoyant, almost giddy enthusiasm to naked self-pity, then back again, without strain. The shifts are seamless and mesmerizing.