The Play in Review The Play in Review By BROOKS ATKINSON ith the production of "All My Sons," at the Coronet last evening, the theatre has acquired a genuine new talent. Arthur Miller, who wrote "The Man Who Had All the Luck" in 1944, brings something fresh and exciting into the drama. He has written an honest, forceful drama about a group of people caught up in a monstrous swindle that has caused the death of twenty-one Army pilots because of defectively manufactured cylinder heads. Told against the single setting of an ordinary American backyard, it is a pitiless analysis of character that gathers momentum all evening and concludes with both logic and dramatic impact. Mr. Miller's talent is many-sided. Writing pithy yet unselfconscious dialogue, he has created his character vividly, plucking them out of the run of American society, but presenting them as individuals with hearts and minds of their own. He is also a skillful technician. His drama is a piece of expert dramatic construction. Mr. Miller has woven his characters into a tangle of plot that springs naturally out of the circumstances of life today.

Having set the stage, he drives the play along by natural crescendo to a startling and terrifying climax. Fortunately, "All My Sons" is produced and directed by people who value it and who have given it a taut and pulsing performance with actors of sharp and knowing intelligence. It is always gratifying to see old hands succeed in the theatre. But there is something uncommonly exhilarating in the spectacle of a new writer bringing unusual gifts to the theatre under the sponsorship of a director with taste and enthusiasm. In the present instance, the director is Elia Kazan. "All My Sons" is the drama of one crucial day in the life of the Kellers, who live "in the outskirts of an American town." It is Sunday. Mr. Keller and his neighbors are beginning the day languidly in good humor. But their family life is swept with hidden currents of anguish and misgivings. Although Joe Keller and his son, Chris, know that the second son, Larry, will never return from the war, Mrs. Keller is neurotically convincing herself that Larry is not dead. Chris wants to marry the girl to whom Larry was engaged. That seems to have nothing against it except loyalties that ought to be dead.

But presently it develops that the great horror that is hanging over the Keller family is the suspicion that Joe Keller has escaped a jail conviction for fraudulent manufacturing by making his innocent partner the scapegoat. The suspicion develops into a fact. In some skillful dramatic construction which may, indeed, be a trifle too skillful for spontaneity, Mr. Miller involves everyone in this spiritual torture and uncertainty. He has also managed to relate the particular tragedy to the whole tragedy of the war years. For scenery, Mordecai Gorelik has designed an attractive, sunny backyard with a life of its own. In three acts that carry the play over into the darkness of the next day, the actors are giving a brilliant performance. Beth Merrill as the neurotic and tired mother give us the impression of an inner strength that dominates at least one corner of the crisis. As Joe Keller, Ed Begley dramatizes the whole course of the father's poignant ordeal without losing the basic coarseness of the character. As the son, Arthur Kennedy is giving a superb performance with great power for the climaxes and with insight into the progress of the character.

Lois Wheeler acts the part of the neighbor's daughter with candor, youthfulness and passion, thoroughly aware of the growth of her character. As the son of the scapegoat, Karl Malden is ably conveying the confusion and horror of a weak young man plunged into a situation he can hardly understand. There are excellent performers in other parts by John McGovern, Peggy Meredith, Dudley Sadler, Hope Cameron and Eugene Steiner. In a performance with varying tone, rising pitch and dramatic design, they are acting an original play of superior quality by a playwright who knows his craft and has unusual understanding of the tangled loyalties of human beings. Arthur Miller Biography | List of Works, Study Guides & Essays | GradeSaver Miller, Arthur Biography of Arthur Miller Arthur Miller was one of the leading American playwrights of the twentieth century. He was born in October 1915 in New York City to a women's clothing manufacturer, who lost everything in the economic collapse of the 1930s. Living through young adulthood during the Great Depression, Miller was shaped by the poverty that surrounded him. The Depression demonstrated to the playwright the fragility and vulnerability of human existence in the modern era.

After graduating from high school, Miller worked in a warehouse so that he could earn enough money to attend the University of Michigan, where he began to write plays. Miller's first play to make it to Broadway, The Man Who Had All the Luck (1944), was a dismal failure, closing after only four performances. This early setback almost discouraged Miller from writing completely, but he gave himself one more try. Three years later, All My Sons won the New York Drama Critics' Circle Award as the best play of 1947, launching Miller into theatrical stardom. All My Sons, a drama about a manufacturer of faulty war materials, was strongly influenced by the naturalist drama of Henrik Ibsen. Along with Death of a Salesman (his most enduring success), All My Sons and The Man Who Had All the Luck form a thematic trilogy of plays about love triangles involving fathers and sons. The drama of the family is at the core of all of Miller's major plays, but nowhere is it more prominent than in All My Sons and Death of a Salesman. Death of a Salesman (1949) secured Miller's reputation as one of the nation's foremost playwrights.

In this play, Miller mixes the tradition of social realism that informs most of his work with a more experimental structure that includes fluid leaps in time as the protagonist, Willy Loman, drifts into memories of his sons as teenagers. Loman represents an American archetype: a victim of his own delusions of grandeur and obsession with success, and haunted by a sense of failure. Miller won a Tony Award for Death of a Salesman as well as a Pulitzer Prize. The play has been frequently revived in film, television, and stage versions that have included actors such as Dustin Hoffman, George C. Scott and, most recently, Brian Dennehy in the part of Willy Loman. Miller followed Death of a Salesman with his most politically significant work, The Crucible (1953), a tale of the Salem witch trials that contains obvious analogies to the McCarthy anti-Communist hearings in 1950s America. The highly controversial nature of the politics of The Crucible, which lauds those who refuse to name names, led to the play's mixed response. In later years, however, it has become one of the most studied and performed plays of American theater.

Three years after The Crucible, in 1956, Miller found himself persecuted by the very force that he warned against, when he was called to testify before the House Un-American Activities Committee. Miller refused to name people he allegedly saw at a Communist writers' meeting a decade before, and he was convicted of contempt. He later won an appeal. Also in 1956, Miller married actress Marilyn Monroe. The two divorced in 1961, one year before her death. That year Monroe appeared in her last film, The Misfits, which is based on an original screenplay by Miller. After divorcing Monroe, Miller wed Ingeborg Morath, to whom he remained married until his death in 2005. The pair had a son and a daughter. Miller also wrote the plays A Memory of Two Mondays and the short A View from the Bridge, which were both staged in 1955. His other works include After the Fall (1964), a thinly veiled account of his marriage to Monroe, as well as The Price (1967), The Archbishop's Ceiling (1977), and The American Clock (1980).

His most recent works include the plays The Ride Down Mt. Morgan (1991), The Last Yankee (1993), and Broken Glass (1993), which won the Olivier Award for Best Play. Although Miller did not write frequently for film, he did pen an adaptation for the 1996 film version of The Crucible starring Daniel Day-Lewis and Winona Ryder, which garnered him an Academy Award nomination. Miller's daughter Rebecca married Day-Lewis in 1996. Study Guides on Works by Arthur Miller Arthur Miller Biography | American Masters | PBS Arthur Miller Biography Arthur Miller: Private Conversations on The Set of Death of a Salesman Arthur Miller Biography August 23, 2004 0 SHARES In the period immediately following the end of World War II, American theater was transformed by the work of playwright Arthur Miller. Profoundly influenced by the Depression and the war that immediately followed it, Miller tapped into a sense of dissatisfaction and unrest within the greater American psyche. His probing dramas proved to be both the conscience and redemption of the times, allowing people an honest view of the direction the country had taken. Arthur Miller was born in Manhattan in 1915 to Jewish immigrant parents.

By 1928, the family had moved to Brooklyn, after their garment manufacturing business began to fail. Witnessing the societal decay of the Depression and his father’s desperation due to business failures had an enormous effect on Miller. After graduating from high school, Miller worked a number of jobs and saved up the money for college. In 1934, he enrolled in the University of Michigan and spent much of the next four years learning to write and working on a number of well-received plays. After graduating, Miller returned to New York, where he worked as a freelance writer. In 1944, his first play, “The Man Who Had All the Luck”, opened to horrible reviews. A story about an incredibly successful man who is unhappy with that success, “The Man Who Had All The Luck” was already addressing the major themes of Miller’s later work. In 1945, Miller published a novel, FOCUS, and two years later had his first play on Broadway. “All My Sons,” a tragedy about a manufacturer who sells faulty parts to the military in order to save his business, was an instant success.

Concerned with morality in the face of desperation, “All My Sons” appealed to a nation having recently gone through both a war and a depression. Only two years after the success of “All My Sons,” Miller came out with his most famous and well-respected work, “Death of a Salesman.” Dealing again with both desperation and paternal responsibility, “Death of a Salesman” focused on a failed businessman as he tries to remember and reconstruct his life. Eventually killing himself to leave his son insurance money, the salesman seems a tragic character out of Shakespeare or Dostoevsky. Winning both a Pulitzer Prize and a Drama Critics Circle Award, the play ran for more than 700 performances. Within a short while, it had been translated into over a dozen languages and had made its author a millionaire. Overwhelmed by post-war paranoia and intolerance, Miller began work on the third of his major plays. Though it was clearly an indictment of the McCarthyism of the early 1950s, “The Crucible” was set in Salem during the witch-hunts of the late 17th century.

The play, which deals with extraordinary tragedy in ordinary lives, expanded Miller’s voice and his concern for the physical and psychological wellbeing of the working class. Within three years, Miller was called before the House Committee on Un-American Activities, and convicted of contempt of Congress for not cooperating. A difficult time in his life, Miller ended a short and turbulent marriage with actress Marilyn Monroe. Throughout the 1960s and 1970s, he wrote very little of note, concentrating at first on issues of guilt over the Holocaust, and later moving into comedies. It was not until the 1991 productions of his “The Ride Down Mount Morgan” and “The Last Yankee” that Miller’s career began to see a resurgence. Both plays returned to the themes of success and failure that he had dealt with in earlier works. Concerning himself with the American dream, and the average American’s pursuit of it, Miller recognized a link between the poverty of the 1920s and the wealth of the 1980s. Encouraged by the success of these works, a number of his earlier pieces returned to the stage for revival performances.

More than any other playwright working today, Arthur Miller has dedicated himself to the investigation of the moral plight of the white American working class. With a sense of realism and a strong ear for the American vernacular, Miller has created characters whose voices are an important part of the American landscape. His insight into the psychology of desperation and his ability to create stories that express the deepest meanings of struggle, have made him one of the most highly regarded and widely performed American playwrights. In his eighty-fifth year, Miller remains an active and important part of American theater. READ NEXT The Man Who Had All the Luck, by Arthur Miller - New York Arts New York Arts > The Man Who Had All the Luck, by Arthur Miller The Man Who Had All the Luck, by Arthur Miller Written by Arthur Miller | Directed by John Dove | Royal Lyceum Theatre, Edinburgh, 16 January – 14 February.

Cast: Andrew Falk and Augie Belfast – Peter Harding Patterson Beeves – Ron Donachie Gustav Eberson – Greg Powrie Aunt Belle – Isabella Jarrett Arthur Miller’s earliest play to run on the Broadway stage, The Man Who Had All the Luck (1944), began in the form of a novel – his student, friend and biographer Christopher Bigsby tells us in his pre-show talk on January 20. Over the course of four years, Miller wrote several drafts, unsure how best to present his themes; through which medium? through which plot? should there be an enlightened redemption or a tragic fall for his hero? From 1941 he began working the “fable” into a play. In late 1944 it arrived at the Forrest Theater, where it ran for three days and four performances before being called off the stage, a failure, though recognized by many critics as a promising indication of good work to come. The play has since been largely neglected, until 2001 when it resurfaced at the Williamstown Theatre Festival before running an immensely popular production directed by Scott Ellis (director of last season’s The Understudy) at the American Airlines Theater in New York City.

A film adaptation will be released this year, directed again by Mr Ellis. It is certainly a deserving revival, for, as Lucy Vaughan, head of Lyceum education, comments: “This one’s a treat for all fans of Arthur Miller. It’s rarely performed, yet it has all the passion and drama of his better known plays.” Philip Cumbus and Kim Gerard in Arthur Miller’s The Man Who Had All the Luck at the Royal Lyceum Theatre, Edinburgh, photo Douglas McBride The Man Who Had All the Luck is set in a small Midwestern town, somewhere not far from Detroit, as the characters’ support of the Tigers is (at first, at least) unquestionable. Here, in a shabby barn converted into the workplace of our auto-mechanic hero, David Beeves (played well by Philip Cumbus), the first act is played. David is in love with a local girl called Hester Falk (Kim Gerard), but cannot marry her due to her father’s objections. While he is relatively successful in that he has his own business, he does not have all the tools or capital he requires.

Both problems are fixed when Lady Luck comes to David’s aid as it always has done and will continue to do in acts two and three. But David must be spectator to the misfortunes of his comrades. Paradoxically, his empathy for their tragedies make him not so lucky as he chooses to think he is. As Christopher Bigsby aptly puts it, David feels a “terror of failure and guilt at success.” His constant success not only builds a guilt within him, but a fear that he is going to one day lose it all, with one fowl swoop of bad luck; he believes that tragedy is inevitable. Through this plot, the play deals with the theme of human incapacity to control life’s fortunes and misfortunes; the fear that all is left to a twisted supernatural power that determines our fate, that our personal skills and desires are meaningless in the end. Shory, who has had more than his fair share of bad luck, claims that we are all jelly fish caught in the tide. The first act of John Dove’s production is weak, though he must be commended on the set and the fine Marmon car wheeled onto the stage.

Perhaps some of this act’s failings can be attributed to those of the young writer, but not all, as the conversations do come across as well-written. The intelligence that David is our hero is a bit delayed by the many characters on stage with him from the beginning, but this is clarified soon enough. Kim Gerard and Andrew Vincent (playing JB Feller) both overacted. The former was loud, spasmodic and very difficult to like. The latter’s gestures were awkward and unnatural, and his speeches were directed too much at the audience, making him seem out of character sometimes. He improves very much in the later when he takes to the bottle. Andrew Falk (Peter Harding, who reappears as baseball manager Augie Belfast in the second act) was very good as Hester’s disagreeable father. Without yelling, his performance managed to instill an eerie effect in characters and spectators both. Acts two and three were better overall. The scene here is the new, vibrant, middle class living room belonging to our fortunate protagonist. In it we witness David’s tragic fall and his ultimate redemption in the understanding that he is just as much to blame for his successes as the supernatural puppeteers.

Matthew Pidgeon, who I saw earlier this season in an excellent play by Scottish playwright David Greig called Midsummer at the Traverse, was a good Shory, especially in the second act. Because of his character’s paralyzed legs, Pidgeon had to rely on his upper half to convey his cynical words of wisdom, which he did very well. Ron Donachie (Patterson Beeves, father of David and Amos) is also fine, playing particularly well the shattered father in act two. Generally, the accents (trained by Lynn Bains, an American expatriate based in Edinburgh) were passable. Kim Gerard had a rather disagreeable whining quality in hers to go with her course portrayal of Hester. There were some minor errors elsewhere (a brief slip by Perry Snowdon in the second act into a Londoner’s English), but with the not too discriminate ear one should carry to a British production of an American play, there was not much to complain of. Greg Powrie, playing the foreign mechanic Gustav Eberson, delivers his accent well and consistently.

The Man Who Had All the Luck, while lacking the social and political relevance of The Crucible and Death of a Salesman, is a work that anyone with any worldly experience can relate to and learn from. All minor flaws in its presentation aside, this production is well worth a trip to the Lyceum. Powered by Google Translate . Support New York Arts. All donations are now tax deductible through Fractured Atlas. We can't bring you the reviews, articles, and interviews the arts deserve or our new program of interdisciplinary concerts, performances and exhibitions without your support. Please donate generously. The Arts Press (parent organization of New York Arts) is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Arts Press must be made payable to Fractured Atlas only and are tax-deductible to the extent permitted by law. Please send contributions other than those made online, i.e. by check, to Michael Miller, Publisher, The Arts Press, 127 East 91st Street, New York New York, 10128. Checks should be made payable to Fractured Atlas, with The Arts Press in the memo line.

Join us on Twitter Follow @newyorknyarts Like New York Arts on Facebook! Subscribe to the Newsletters of New York Arts, an International Journal for the Arts and/or The Berkshire Review Mailings go out approximately every month, with occasional newsbreaks about special events. YOUR INFORMATION WILL NOT BE SHARED OR SOLD. IT WILL REMAIN STRICTLY CONFIDENTIAL. Email Address* The Play The Play By LEWIS NICHOLS here can be no doubt that as "The Man Who Had All the Luck" contains a certain amount of merit. There are some good performances and careful staging and one or two effective moments. The fact that they have not been multiplied is the new play's misfortune, for the author and director--Arthur Miller and Joseph Fields--at least have been trying to do something away from the theater's usual stencils. But in the Forrest's current tenant they have not edited out the confusion of the script nor its somewhat jumbled philosophies, nor have they kept it from running over into the ridiculous now and then. "The Man Who Had All the Luck" can be set down as a play which tried, but which did not come off--through luck or whatever.

The discussion of "The Man Who Had All the Luck" is whether success springs from fortune or work, from some design plan about which it's useless to worry, or from care. Mr. Miller takes as a central character an automobile mechanic. He wins his wife when her father, who hated him, is killed; he branches out in business when another mechanic happens along to show him how to fix a car he cannot repair. He gets a farm, he wants children and has one, he starts a mink farm and that is successful also. His friends and others all suffer disasters, and he thinks his luck presently will change, too. That it does not, Mr. Miller concludes finally, is due to the fact that all the things which seemed to be luck were only just rewards for work and care. The confusion of the play lies in the fact that Mr. Miller has been working on all sides of the argument, setting them forth and not going on to give proof. The man who had all the luck ends by deserving his success through the care he has taken, yet his brother, who had taken much more, fails. Luck, or good work, you get your choice.

Added to the fact that the play sometimes is impossible to follow is the additional one that some of its situations are corny to the extreme. Mr. Miller has written some good dialogue in spots, but he also has not been innocent of the obvious. It also is possible the author has been reading Saroyan now and again, a few of the characters and situations being of that school, with Mr. Saroyan handling them better. Karl Swenson is the man with the luck , and for the most part plays him very well. Until the end of the drama, when the philosophies begin whirling, he is quiet and at ease; that he finally whirls, also, probably is not his fault. Herbert Berghof has the role of a refugee mechanic and friend; he is a sort of mild Jacobowsky who introduces the philosophy of American freedom--which hasn't much bearing on the play. Dudley Sadler is the brother who has spent his life trying to be a big-league baseball pitcher, Jack Sheehan is excellent as the father, Eugenia Rawls is the bride. Mr. Fields has directed the play carefully, and such minor roles as that of Lawrence Fletcher, as a baseball scout, are nicely done.

For one of the scenes Frederick Fox has designed as garage, complete with automobile. "The Man Who Had All the Luck" lacks either the final care or the luck to make it a good play. But it has tried, and that is something. Chris O'Donnell Is The Man Who Had All the Luck on Bway, May 1 | Playbill Chris O'Donnell Is The Man Who Had All the Luck on Bway, May 1 By Robert Simonson May 01, 2002 As everyone who's gone to see The Producers knows (and as many of us knew long before then) that it is wrong to wish actors "good luck" before an opening night. Nonetheless, on May 1, Chris O'Donnell will take his chances and open on Broadway as The Man Who Had All the Luck. The earlier Arthur Miller work is produced by the Roundabout Theatre Company. Chris O'Donnell, James Rebhorn and Samatha Mathis in The Man Who Had All the Luck. Photo by Photo by Joan Marcus As everyone who's gone to see The Producers knows (and as many of us knew long before then) that it is wrong to wish actors "good luck" before an opening night.

Nonetheless, on May 1, Chris O'Donnell will take his chances and open on Broadway as The Man Who Had All the Luck. The earlier Arthur Miller work is produced by the Roundabout Theatre Company . O'Donnell is backed up by Mason Adams , James Rebhorn and Sam Robards , who has received a Drama Desk Award nomination for his performance. The four men were first reunited in performance at the American Airlines Theatre when the show began previews on April 19; the quartet appeared in a 2001 staging of the play at the Williamstown Theatre Festival. Joining them in New York is Samatha Mathis, playing the part Jennifer Dundas had in Massachusetts. Also drafted from the 2001 incarnation are Dan Moran, Edward James Hyland, Ryan Shively and David Wohl. New to the play are Ryan Shively and Mary Catherine Wright. Scott Ellis directs. Miller's intriguing 1944 Broadway flop came before both his breakout hit, All My Sons, and the towering Death of a Salesman. Miller wrote the play in 1940. It takes place in 1938 during the end of the Depression, and as Europe was heading into war.

Boyish O'Donnell spent the 1990s starring in such films as "Scent of a Woman" with Al Pacino , "Men Don't Leave" with Jessica Lange and "Circle of Friends" with Minnie Driver. His most widely-seen performance, however, was probably as Robin in "Batman Forever," the 1995 addition to the "Batman" movie franchise. He'll play the title role of David in the Miller play. The Man Who Had All the Luck is described in press notes as "a charming story of the fate of a young Midwestern man whose fortune shines on him while it passes over everyone else around him. The play wrestles with the unanswerable — the question of the justice of fate, how it was that one man failed and another, no more or less capable, achieved some glory in life." Mathis has acted in movies since she was a teenager.

Her first major role was in the Christian Slater vehicle "Pump Up the Volume." Since then she has starred in "Little Women," "Broken Arrow," "The American President," and "American Psycho." She was also in the cast of the TV series "First Years." Born in Brooklyn to actress Bibi Besch, she began appearing in commercials at an early age. Adams is best known from the television series "Lou Grant," but was recently seen Off-Broadway in John Guare's Lake Hollywood and Horton Foote's The Last of the Thorntons. Rebhorn's many film credits include "The Talented Mr. Ripley." Robards has acted in such New York fare as Misalliance, also at the Roundabout. Director Scott Ellis is the associate artistic director of the Roundabout Theatre Company. For Roundabout, he directed the Broadway revival of The Rainmaker with Woody Harrelson and Jayne Atkinson, 1776, She Loves Me and Company. He'll helm the company's revised revival of the Rodgers and Hart musical, The Boys From Syracuse, opening July 11 (the musical was bumped from March 2002 to summer to accommodate The Man Who Had All the Luck).

This new staging of The Man Who Had All the Luck originated with a reading for the Roundabout's donors in early 2000, directed by Scott Ellis. * Arthur Miller - Biography - IMDb Arthur Miller Jump to: Overview (4) | Mini Bio (1) | Spouse (3) | Trivia (45) | Personal Quotes (15) Overview (4) 6' 2½" (1.89 m) Mini Bio (1) Arthur Asher Miller was born on October 17, 1915, in New York City, to Augusta (Barnett) and Isidore Miller. His family was of Austrian Jewish descent. His father manufactured women's coats, but his business was devastated by the Depression, seeding his son's disillusionment with the American Dream and those blue-sky-seeking Americans who pursued it with both eyes focused on the Grail of Materialism. Due to his father's strained financial circumstances, Miller had to work for tuition money to attend the University of Michigan. It was at Michigan that he wrote his first plays. They were successes, earning him numerous student awards, including the Avery Hopwood Award in Drama for "No Villain" in 1937.

The award was named after one of the most successful playwrights of the 1920s, who simultaneously had five hits on Broadway, the 'Neil Simon (I)' of his day. Now almost forgotten except for his contribution to "Gold Diggers of 1933," Hopwood achieved a material success that the older Miller could not match, but he failed to capture the immortality that would be Miller's. Hopwood's suicide, on the beach of the Cote d'Azur, inspired Norman Maine's march into the SoCal surf in A Star Is Born (1937). It seemed to encapsulate the American dilemma: the achievement of success was no panacea for an America soul-sick from its pursuit. Like Fitzgerald, Miller tasted success at a tender age. In 1938, upon graduating from Michigan, he received a Theatre Guild National Award and returned to New York, joining the Federal Theatre Project. He married his college girlfriend, Mary Grace Slattery, in 1940; they would have two children, Joan and Robert. In 1944, he made his Broadway debut with "The Man Who Had All the Luck," a flop that lasted only four performances.

He went on to publish two books, "Situation Normal" in '44, and "Focus" in 1945, but it was in 1947 that his star became ascendant. His play "All My Sons," directed by Elia Kazan , became a hit on Broadway, running for 328 performances. Both Miller and Kazan received Tony Awards, and Miller won the New York Drama Critics Circle Award. It was a taste of what was to come. Staged by Kazan, "Death of a Salesman" opened at the Morosco Theatre on February 10, 1949, and closed 742 performances later on Nov 18, 1950. The play was the sensation of the season, winning six Tony Awards, including Best Play and Best Author for Miller. Miller also was awarded the 1949 Pulitzer Prize for Drama. The play made lead actor Lee J. Cobb , as Willy Loman, an icon of the stage comparable to the Hamlet of John Barrymore : a synthesis of actor and role that created a legend that survives through the bends of time.

A contemporary classic was recognized, though some critics complained that the play wasn't truly a tragedy, as Willy Loman was such a pathetic soul. The fall of such a small person as Loman could not qualify as tragedy, as there was so little height from which to fall. Miller, a dedicated progressive and a man of integrity, never accepted the criticism. As Willy's wife Linda said at his funeral, "Attention must be paid," even to the little people who were crucified alongside the capitalist gods in the pursuit of the American Dream. In 1983 Miller himself directed a staging of "Salesman" in Chinese at the Beijing Peoples' Art Theatre. He said that while the Chinese, then largely ignorant of capitalism, might not have understood Loman's career choice, they did have empathy for his desire to drink from the Grail of the American Dream.

They understood this dream, which Miller characterizes as the desire "to excel, to win out over anonymity and meaninglessness, to love and be loved, and above all, perhaps, to count." It is this desire to sup at the table of the great American Capitalists, even if one is just scrounging for crumbs, in a country of which President Calvin Coolidge said, "The business of America is business," this desire to be recognized, to be somebody, that so moves "Salesman" audiences, whether in New York, London or Beijing. Miller never again attained the critical heights nor smash Broadway success of "Salesman," though he continued to write fine plays that were appreciated by critics and audiences alike for another two decades. Disenchanted with Kazan over his friendly testimony before the House Un-American Activities Committee, the two parted company when Kazan refused to direct "The Crucible," Miller's parable of the witch hunts of Sen. Joseph McCarthy . Defending her husband, Kazan's wife Molly told Miller that the play was disingenuous, as there were no real witches in Puritan Salem.

It was a point Miller disagreed with, as it was a matter of perspective--the witches in Salem were real to those who believed in them. Directed by another Broadway legend, Jed Harris , the play ran for 197 performances and won Miller the 1953 Tony Award for Best Play. Miller had another success with "A View from the Bridge," a play about an incest-minded longshoreman written with overtones of classical Greek tragedy, which ran for 149 performances in the 1955-56 season. It was in 1956 that Miller made his most fateful personal decision, when he divorced his wife Mary and married movie siren-cum-legend Marilyn Monroe . With this marriage Miller achieved a different type of fame, a pop culture status he abhorred. It was a marriage doomed to fail, as Monroe was, in Miller's words, "highly self-destructive." In his beautifully written 1989 autobiography "Timebends," Miller wrote that a marriage was a conspiracy to keep out the light. When one or more of the partners could no longer prevent the light from coming in and illuminating the other's faults, the marriage was doomed.

In his own autobiography, "A Life," Kazan said that he could not understand the marriage. Monroe, who had slept with Kazan on a casual basis, as she did with many other Hollywood players, was the type of woman someone took as a mistress, not as a wife. Miller, however, was a man of principle. He was in love. "[A]ll my energy and attention were devoted to trying to help her solve her problems," Miller confessed to a French newspaper in 1992. "Unfortunately, I didn't have much success." The conspiracy collapsed during the filming of The Misfits (1961) (1961), with John Huston shooting the original script Miller had written expressly for his wife. The genesis of the story had come to him while waiting out a divorce from his first wife Mary in Nevada. Monroe hated her character Roslyn, claiming that Miller had made her out to be the dumb blond stereotype she so loathed and had been trying to escape. Withering in her criticism of Miller, and ultimately unfaithful to him, she and Miller separated.

Norman Mailer , in his dubious 1973 biography "Marilyn," ridiculed Miller for not doing enough to help Monroe, for not being man enough to keep her. Movie critic Pauline Kael , in turn, lambasted Mailer, saying it was simply a matter of petty machismo and jealousy, that the nearly eight-year-younger Mailer resented Miller (who, unlike Mailer, was never shy about his Judaism), his respectable reputation and his conquest of Marilyn. Ironically, Mailer had lived in the same Brooklyn boarding house as Miller did, after World War II. What Mailer seemed to resent most of all was never being invited over to meet the Missus when they lived close by one another in Connecticut in the late 1950s. Miller would later reunite with Kazan to launch the new Lincoln Center Repertory Theater, with the play "After the Fall," a fictionalization of his relationship with Monroe.

"Fall" ran for 208 performances in repertory in 1964 and 1965 and won 1964 Tony Awards for Jason Robards and Kazan's future wife Barbara Loden , playing the Miller and Monroe stand-ins Quentin and Maggie. Miller's own "Incident at Vichy" played in repertory with "Fall" in the 1965 season, but lasted only 32 performances On June 1, 1957, Miller was found in contempt of Congress for refusing to name names of a literacy circle suspected of Communist Party affiliations. The State Department deprived him of his passport, and he became a left-wing cause celebre. In 1967 Miller became President of P.E.N., an international literacy organization that campaigned for the rights of suppressed writers. He published a collection of short stories entitled "I Don't Need You Any More" the same year. Returning to the Morosco Theatre, the site of his greatest triumph, "The Price" was Miller's last unqualified hit in America, running for 429 performances between Feb 7, 1968 and Feb 15, 1969.

Though Miller won a 1968 Tony Award for Best Play, the bulk of his success as an original playwright was over. A 1971 teleplay (_Price, The (1971) (TV)_) of the production was nominated for six Emmy awards, including Outstanding Single Program-Drama or Comedy, and won three, including Best Actor for George C. Scott , who would later win a 1976 Tony playing Willy Loman in a 1975 Broadway revival. Miller never again achieved success on Broadway with an original play. In the 1980s, when he was hailed as the greatest living American playwright after the death of Tennessee Williams, he even had trouble getting full-scale revivals of his work staged. One of his more significant later works, "The American Clock", based on Studs Terkel 's oral history of the Great Depression "Hard Times," ran for only 11 previews and 12 performances in late 1980 at the Biltmore Theatre.

Also in 1980, Miller courted controversy by backing the casting of anti-Zionist Vanessa Redgrave as a concentration-camp Jewess in his teleplay Playing for Time (1980), an adaptation of the memoir "The Musicians of Auschwitz." Another politically active Jew in show business, soon-to-be-president of the Screen Actors Guild Edward Asner , recommended that other Jews shun Miller. Commercial Broadway producers didn't need Asner's advice to shun Miller, however. Ironically for America's greatest living playwright, his original work was popular in Britain, whose intellectual and theatrical communities treated him as a major figure in world literature. The universality of his work was highlighted with his own successful staging of "Death of a Salesman" in Beijing in 1983. Arthur Miller wrote plays, screenplays, novels, short stories, non-fiction, and an autobiography, but it will be for "Death of a Salesman" that he will be remembered. It is the "Great American Fiction" of the 20th century, if not the Great American Play, perfectly encapsulating what was wrong with America in that tumultuous century.

The play has become a standard warhorse, now revived each decade on Broadway, and all over the world. In addition to George C. Scott and Lee J. Cobb (who received an Emmy nomination for the 1966 teleplay; Miller himself received a Special Citation from the Academy of Television Arts and Sciences for the production), Dustin Hoffman and Brian Dennehy have garnered kudos for playing Willie Loman. The 1984 Broadway revival of "Salesman" won a Tony for best Reproduction and helped revive Miller's domestic reputation, while Volker Schlöndorff 's 1985 film ( Death of a Salesman (1985)) of the production won 10 Emmy nominations, including one for Miller as executive producer of the Outstanding Drama/Comedy Special. Hoffman won an Emmy and a Golden Globe for playing Willy Loman. The hit 1999 revival won four Tonys, including Dennehy for Best Actor, and ran for 274 performances at the Eugene O''Neill Theatre. Miller based his works on American history, his own life, and his observations of the American scene.

Though uniquely American, they simultaneously were universal stories about an individual's struggle with his society, his family, and especially, himself. Miller's characters suffer from anxiety, depression, and guilt, and it was the genius of Miller to portray their pain and sorrow realistically, creating works that were familiar, yet uncanny in their power to move an audience. Miller's stature is based on his refusal to avoid moral and social issues in his writing, even when the personal cost was terrible. Miller might not have been the greatest writer in America, but his bravery and his willingness to fight for what he believed in his chosen art form made him a great American whose name will live on in world letters. - IMDb Mini Biography By: Jon C. Hopwood Spouse (3) Older brother of Joan Copeland . First wife Mary Slattery was his college sweetheart. Met his late wife, Inge Morath , when she and other photographers from the legendary Magnum agency, was assigned to document the making of Miller's and Marilyn Monroe 's film, The Misfits (1961). Daughter Rebecca Miller is married to Daniel Day-Lewis , who starred in The Crucible (1996), a film version of Miller's play.

(May 8, 2002) Miller received the "Principe de Asturias" prize, in honour of his writing career. Awarded Spain's Principe de Asturias Prize for Literature as "the undisputed master of modern drama." Previous winners include Doris Lessing , Günter Grass and Carlos Fuentes . [May 2002] Divorced his first wife, Mary Slattery, in Reno, NV, after a six-week residency period. It was while waiting for his divorce that Miller met a group of cowboys who inspired the short story "The Misfits", which he later adapted as a vehicle for his second wife, Marilyn Monroe . His "Death of a Salesman" was the first play to take the New York Drama Critics Circle Award, the Tony Award and the Pulitzer Prize. Was exempted from military service during World War II because of a football injury. Was found guilty of contempt of Congress for refusing to reveal to the House Un-American Activities Committee the names of members of a literary circle accused of Communist affiliations. His conviction was reversed by the U.S. Court of Appeals for the District of Columbia on 8 August 1958.

[May 1957] Graduated from the University of Michigan in 1938, majoring in journalism. He was a reporter and night editor on the student paper, The Michigan Daily. According to Martin Gottfried's biography, "Arthur Miller: His Life and Work," he and his late wife, Inge Morath , had a son, Daniel, born with Down Syndrome. Miller put Daniel in an institution in Roxbury, Conn., and never visited him. Was one of three children. His father was an Austrian Jewish immigrant. His mother was born in New York, to Austrian Jewish parents. He was awarded the Laurence Olivier Theatre Award in 1995 (1994 season) BBC Award for Best Play for Broken Glass. (12/04) The 89-year-old Miller announced that he has been living with 34-year-old artist Agnes Barley at his Roxbury, Connecticut, farm since 2002. Biography/bibliography in: "Contemporary Authors". New Revision Series, Vol. 132, pp. 287-295. Farmington Hills, MI: Thomson Gale, 2005.

Miller died on the 56th anniversary of the opening night of his greatest success. "Death of a Salesman" opened at the Morosco Theatre on Feb 10, 1949 and closed on Nov 18, 1950, running for a total of 742 performances. The original production won two 1949 Tony Awards for Miller for Best Play and Best Author. It also won Tony Awards for Arthur Kennedy (Best Supporting or Featured Actor-Dramatic), Jo Mielziner (Best Scenic Design), Kermit Bloomgarden and Walter Fried (Producer-Dramatic), and Elia Kazan (Best Director). Cameron Mitchell won a 1949 Theatre World Award for Supporting Actor. Miller also was awarded the 1949 Pulitzer Prize for Drama. The play has been revived three times successfully on Broadway, in 1975, 1984 and 1999.

According to Miller in his autobiography "Timebends," he had written a screenplay dealing with corruption on the New York waterfront called "The Hook." Elia Kazan had agreed to direct it, and in 1951 they went to see Harry Cohn at Columbia Pictures about making the picture. Cohn agreed in principle to make "The Hook," but his minions were troubled by the portrayal of corrupt union officials. When Cohn asked that the antagonists of the script be changed to Communists, Miller refused. Cohn sent Miller a letter telling him it was interesting that he had resisted Columbia's desire to make the movie pro-American. Kazan later made a movie about corruption on the waterfront that did include corrupt union officials, based on articles by Malcolm Johnson . He asked Miller to write the script, but Miller declined due to his disenchantment with Kazan's friendly testimony before the House Un-American Activities Committee. Budd Schulberg , a fellow HUAC informer, developed the story and wrote the script. The movie was produced by Sam Spiegel and distributed through Columbia.

On the Waterfront (1954), which won eight Oscars, including Best Picture, Best Director, and Best Screenplay, is considered a classic and was one of the first films named to the National Film Preservation Board's National Film Registry in 1989. He was forced to testify in front of the House Un-American Activities Committee (HUAC) in 1956, after he had sought a passport to accompany his wife, Marilyn Monroe , to England for the shooting of The Prince and the Showgirl (1957). In 1954 the US State Department had refused to renew his passport (first issued in 1947) on the grounds that he was a "fellow traveler". Subsequent to his 1956 request, HUAC subpoenaed Miller to testify about the unauthorized use of American passports. The justification of the subpoena was that the State Department was withholding approval of his latest request due to derogatory information about Miller's past. In his HUAC testimony, Miller admitted to involvement with many Communist-front organizations and having had sponsored many Communist-backed causes in the 1940s.

When Miller was asked whether he had signed an application to join the Communist Party in 1939 or '40, he explained that he believed he had signed an application for a course on Marxism. The date was significant for it was the Nazi-Soviet Non-Aggression Pact, signed in Moscow on August 23, 1939 (thus enabling the launching of World War II by allying the USSR with Germany, partitioning Poland between the two countries, and allowing Adolf Hitler to concentrate his war machine on the West), that led many American Communist Party members, like friendly witness Elia Kazan , to repudiate the Party. To have stuck with the Party or to have joined after the Pact would tar one as a Stalinist. Claiming he could not remember, Miller refused to deny that he had signed statements attacking H.U.A.C. and the Smith Act, and signing a statement against outlawing the Communist party. The Alien Registration Act of 1940, a.k.a. the Smith Act, had been used to destroy the Communist Party.

It banned knowingly or willfully advocating, abetting, advising, or teaching the necessity, desirability, or propriety of overthrowing the government of the U.S. or any of its subdivisions by force or violence, or by assassination of its officials. It also outlawed the printing, publishing, editing and distribution of materials advocating violent revolution, and made it a crime to organize, help or make attempts to organize any group advocating the same. The U.S. Supreme Court had upheld the Smith Act in 1951. Upholding the conspiracy convictions of 11 Communist Party leaders, the Court, applying a clear and present danger test, held that free speech could be curbed in order to suppress a serious evil. Miller told H.U.A.C. that he opposed the Smith Act because it might limit "advocacy," which was essential to literature. The right to free expression for artists had to be preserved. Miller's culpability hanged upon his helping a group, i.e., the Communist Party, which advocated the violent overthrow of the U.S. government. Miller testified that he had attended Communist party writers' meetings four or five times.

When he was asked to confirm the identity of the chairman of a 1947 "meeting of Communist party writers" that he had attended, Miller refused to name names. He stated that though he "would not support now a cause dominated by Communists . . . my conscience will not permit me to use the name of another person and bring trouble to him." Section 6 of The Subversive Activities Control Act of 1950 made it illegal for any member of a registered Communist or Communist-front organization, or an organization under order to be filed as Communist or Communist-front, to apply for or use a passport if they had knowledge of the actual or impending registration. The provision was later struck down by the U.S. Supreme Court in 1964 as violating the Fifth Amendment's due process clause. The Court held that the law infringed on the right to travel, and limited "freedom of association." Faulting Section 6 for being too broad in its application, the Court held it to be unconstitutional as it penalized organization members regardless of their knowledge of its illegal aims, whether they were active or not, and whether they intended to further the organization's illegal aims or not.

The law was too broad as it effected "Communist-action" and "Communist-front" organizations whether or not a member believed or knew that they were associated with such an organization, or whether they knew that the organization sought to further the aims of world Communism. (However, the next year, the Court upheld State Department area restrictions on passports, finding that its passport policies did not violate the First Amendment as they inhibited action rather than expression. This distinction was again upheld in 1981.) In 1956, however, Section 6 of The Subversive Activities Control Act of 1950 was still the law of the land, and it was the law with which H.U.A.C. went after Miller. H.U.A.C. gave Miller an additional ten days to return and answer questions, with the implication that he would be cited for contempt if he did no do so. Miller's lawyers counseled that since the committee's line of questioning had nothing to do with passports, he was not in contempt of Congress for choosing not to answer a question about an unrelated subject. He refused to participate in any further questioning.

The State Department issued Miller a six-month temporary passport to accompany Monroe to England, but upon his return, he was indicted by a federal grand jury after the U.S. House of Representatives voted 373 to 9 to cite him for contempt. He was convicted of contempt in federal court, fined $500 and given a thirty-day suspended prison sentence. In 1958, his conviction was overturned by the U.S. Court of Appeals for the District of Columbia. Citing a 1955 U.S. Supreme Court decision, the Court of Appeals ruled unanimously that H.U.A.C had not sufficiently warned Miller of the penalty for refusing to answer a congressional committee's questions. Miller won the respect of the left and libertarians for doing what many others in his position did not: Stand up to the House Un-American Activities Committee, regardless of the personal cost. His moral courage, which was on display in his life as well as his literature, made him a true American hero.

Won six Tony Awards: in 1947, as Best Author for "All My Sons;" in 1949, as Best Author as well as author of Best Play winner "Death of a Salesman;" in 1953, as Best Author (Dramatic) as well as author of Best Play winner "The Crucible;" and in 1999, a Special Lifetime Achievement Tony Award. He was also Tony-nominated three other times as author of a Best Play nominee: "The Price in 1968, "Broken Glass" in 1994, and "The Ride Down Mt. Morgan" in 2000. In his autobiography "Timebends," Miller speculates that his unconscious mind picked the name "Loman" for Willy Loman, the protagonist of his greatest play, "Death of a Salesman" (1947), from the movie The Testament of Dr. Mabuse (1933), which featured a character named "Inspector Lohmann." (Kriminalkomissar Karl Lohmann also appeared in "Mabuse" director Fritz Lang 's M (1931)).

His play "Resurrection Blues" was chosen by Old Vic Artistic Director Kevin Spacey for an early 2006 production by the venerable London theatrical company. Director by Robert Altman in his London theatrical debut, the Miller play featured an eclectic cast, including Maximilian Schell , James Fox (who replaced John Wood before previews) and American movie actors Matthew Modine and Jane Adams . The critics mostly panned "Resurrection Blues", partly due to the clash in acting styles of the disparate cast. Adams walked out after a matinée on April 5, 2006, and was replaced by her understudy for subsequent performances. No explanation was given for her departure from the production. The play was scheduled to close a week early in mid-April due to poor ticket sales. Altman claimed after the poor debut of the play that he was not very familiar with the script, and didn't really understand the play. Critics said that his confusion obviously affected the cast, many of whom seemed not to understand the play, and some of whom seemed to have trouble remembering lines. While not an outright debacle, the play is another relative failure characterizing Spacey's troubled tenure as Old Vic chief.

In his autobiography "Timebends," Miller says that Lee J. Cobb was his favorite Willy Loman. He also says that Cobb was never really a leftist as he was apolitical, but that he had been attracted to left-wing and anti-Nazi causes during the Depression as had many people who were trying to do right. Thus, Miller never held the fact that he was a friendly witness before HUAAC against him. A decade after his testimony, Cobb's Willy Loman was captured for posterity, with the 1966 video version. By then, Miller had even worked again with Elia Kazan , the most famous and unrepentant of the people who knuckled under and "named names, " whom he fell out with when Kazan refused to direct the Broadway staging of "The Crucible," Miller's metaphorical denunciation of McCarthyism. He was awarded the American National Medal of the Arts in 1993 by the National Endowment of the Arts in Washington D.C. Won the University of Michigan's prestigious "Hopwood Prize" for creative writing in 1938, while an undergraduate at the school.

The prize is named for playwright Avery Hopwood (1882 - 1928), a vastly successful playwright in the teens and 1920s (most famous for the plays " The Bat (1926)" and "The Golddiggers", which became the basis of Gold Diggers of 1933 (1933)) a Michigan alumnus who left a bequest in his will establishing the awards. The Hopwood Program at Michigan now administers the Arthur Miller Award of the U-M Club of New York Scholarship. He and his then wife Marilyn Monroe commissioned famed American architect Frank Lloyd Wright to design a home for their Roxbury property in Litchfield County, Connecticut. Although the house was never built by the couple, the plans were purchased many years later by a country club in Hawaii and built as a clubhouse. The scale model is on exhibit at Taliesan West, Wright's winter compound in Scottsdale, Arizona. Lived with his girlfriend Agnes Barley at the time of his death. Agnes was approximately 50 years younger than Miller. After his divorce from Marilyn Monroe , his father was Marilyn's date to JFK's birthday party at Madison Square Garden.

Biography in: "The Scribner Encyclopedia of American Lives". Volume 7, 2003-2005, pages 373-376. Farmington Hills, MI: Thomson Gale, 2007. Won a 1999 Special Tony Award (New York City) lifetime achievement award. His play, "Death of a Salesman," at the Goodman Theatre in Chicago, Illinois was awarded the 1999 Joseph Jefferson Award for Play Production. His play, "The Price," at the Writers Theatre in Chicago, Illinois was awarded the 2002 Joseph Jefferson Award for Play Production. His play, "All My Sons" at the TimeLine Theatre Company in Chicago, Illinois was nominated for a 2010 Joseph Jefferson Award for Production-Play Midsize. His play, "Death of a Salesman" at the Raven Theatre in Chicago, Illinois was nominated for a 2010 Joseph Jefferson Award (Non-Equity Division) for Production of a Play. Both his younger sister Joan Copeland and his second wife Marilyn Monroe were born on June 1: in 1922 and 1926 respectively.

Arthur Miller: Collected Plays 1944–1961 | Library of America Order all three Arthur Miller volumes in a boxed set and save $25! In the inaugural volume of its collected edition of Miller’s plays, The Library of America gathers the works from the 1940s and 1950s that electrified theatergoers and established Miller as one of the indispensable voices of the postwar era. Among the plays included are All My Sons, the story of an industrialist confronted with his moral lapses during World War II; Death of a Salesman, the wrenching tragedy of Willy Loman’s demise; The Crucible, at once a riveting reconstruction of the Salem witch trials and a parable of McCarthyism; and A View from the Bridge, Miller’s tale of betrayal among Italian immigrants in Brooklyn, presented here in both the original one-act and revised two-act versions.

This volume also contains the intriguing early drama The Man Who Had All the Luck, the first of Miller’s plays to be produced on Broadway, along with his adaptation of Ibsen’s An Enemy of the People, the autobiographical one-act A Memory of Two Mondays, and Miller’s novella The Misfits, based on the screenplay he wrote for Marilyn Monroe. Tony Kushner, editor, is one of America’s most acclaimed playwrights. He has won the Pulitzer Prize for Drama (for Angels in America, Part One), two Tony Awards for Best Play, two Obie Awards, and two Drama Desk Awards. His writings have appeared in The New York Times, Los Angeles Times, Newsweek, The Nation, and The Advocate. Arthur Miller: Collected Plays 1944–1961 is kept in print by a gift from Michael and Andrea Leven to the Guardians of American Letters Fund . Arthur Miller * Search for: Arthur Miller (1915-2005) was born in New York City and studied at the University of Michigan.

His plays include The Man Who Had All the Luck (1944), All My Sons (1947), Death of a Salesman (1949), The Crucible (1953), A View from the Bridge and A Memory of Two Mondays (1955), After the Fall (1964), Incident at Vichy (1964), The Price (1968), The Creation of the World and Other Business (1972), The Archbishop’s Ceiling (1977), The American Clock (1980) and Playing for Time. Later plays include The Ride Down Mt. Morgan (1991), The Last Yankee (1993), Broken Glass (1994), Mr. Peters’ Connections (1998), Resurrection Blues (2002), and Finishing the Picture (2004).

Other works include Situation Normal, reportage (1944), Focus, a novel (1945), The Misfits, first published as a short story (1957), a screenplay (1960) and then as cinema novel (1961), and the texts for In Russia (1969), In the Country (1977), and Chinese Encounters (1979), three books in collaboration with his wife, photographer Inge Morath. Memoirs include Salesman in Beijing (1984), and Timebends, an autobiography (1987). Short fiction includes the collection I Don’t Need You Any More (1967), the novella, Homely Girl, a Life (1995) and Presence: Stories (2007). Essay collections published in his lifetime include The Theater Essays of Arthur Miller (1978, 1996) and Echoes Down the Corridor: Collected Essays 1944 – 2000, as well as individually published volumes ‘The Crucible’ in History (2000) and On Politics and the Art of Acting (2001).

He was awarded the Avery Hopwood Award for Playwriting at University of Michigan in 1936. He twice won the New York Drama Critics Circle Award, received two Emmy awards and three Tony Awards for his plays, as well as a Tony Award for Lifetime Achievement. He also won an Obie award, a BBC Best Play Award, the George Foster Peabody Award, a Gold Medal for Drama from the National Institute of Arts and Letters, the Literary Lion Award from the New York Public Library, the John F. Kennedy Lifetime Achievement Award, and the Algur Meadows Award. He was named Jefferson Lecturer for the National Endowment for the Humanities in 2001. He was awarded the 2002 Prince of Asturias Award for Letters and the 2003 Jerusalem Prize. He received honorary degrees from Oxford University and Harvard University and was awarded the Prix Moliere of the French theatre, the Dorothy and Lillian Gish Lifetime Achievement Award and the Pulitzer Prize.

Question: Who wrote the 1944 play, 'The Man Who Had All The Luck'?
Answer: ARTHUR MILLER