View some of our favorite Instagram posts from cast, artists, crew and fans as we present Death of a Salesman on our historic stage.

Tim Mackabee's imaginative multi-layered set transports audiences to Willy Loman’s home in 1940s Brooklyn, New York. Click through to watch the video on his thoughts about his set design. 

Though it premiered in 1949, Death of Salesman—like all classics—sounds strikingly relevant to our modern ears. Miller was taking aim at the myth of the American dream in post-war America, but his critique continues to ring true today

Arthur Miller believed that there was only one humanity and that all people share common experiences, triumphs and tribulations. This article explores how Miller's classic Death of a Salesman exemplifies that ideal. 

Fifty years after Arthur Miller wrote Death of a Salesman, our cast reflects on how timeless the story has remained. Craig Wallace, Kimberly Schraf, Danny Gavigan and Thomas Keegan share their perspective on the roles they play and how they relate to the Loman family.

More than 1,000 D.C.-area students attendour student matinee performances each year. LaMar Bagley, Ed.D., Director of Student Life for The SEED School of Washington, D.C., has brought his classes for 10 years. LaMar says the experience teaches his students critical thinking and allows them to draw correlations between the history told on stage and their own lives.

Lead Teaching Artist Jennie Eng has added next season's plays to her summer reading list. She recently discovered a consistent theme for these seemingly divergent works.

The musical Ragtime tells a story set just after the turn of the 20th century, when the United States became known as a melting pot. As we see in the musical, Americans of this era experienced great social upheaval as a new century dawned.

During spring 2017, Ford’s Theatre presents Ragtime, an epic Tony-winning musical based on E. L. Doctorow’s celebrated novel about three families striving for the American dream. We spoke with director Peter Flynn about his thoughts on the play’s expansive musical score, striking relevancy and confrontation of both unbridled optimism and the stark reality of life, liberty and the pursuit of happiness.

In Who’s Afraid of Virginia Woolf?, Albee wrote a snapshot of life on a New England college campus in the early 1960s. As with most of his work, he had no interest in what life was supposed to be, but instead delved into the actuality of life itself. This is not the typical mid-20th century life that we often see depicted on television or in the movies.