by Brian Trompeter, Staff Writer

The workaday world is wretched, all right. It's a wonder so many people spend the best years of their lives struggling to overcome what can't be beaten.

And on that happy note, behold Keegan Theatre's solid production of Arthur Miller's "Death of a Salesman." Directed by Dorothy Neumann and performed by a seasoned cast, it ably captures the sadness of dreams crushed and respect denied.

Miller's seminal work still rings true after 57 years. The play is set in New York City in the 1940s, with flashbacks to previous eras, but its goings-on are universal. Then as now, dedicating 34 years of your life to a company amounts to zero when you've hit a rough spot and a new, young manager steps in. What have you done for me lately, indeed.

The play's success depends on the portrayal of its famous protagonist, 60-year-old salesman Willy Loman. Hulking, husky actor Brian Hemmingsen, who towers over others on the stage, is up to the task and delivers a fine performance. He summons the optimistic, can-do spirit Willy must have to survive as a salesman, but also conveys his hangdog posture and sense of anger, betrayal and disappointment.

Willy returns to his doting, neglected wife Linda (Charlotte Akin) after a failed sales trip to New England. The pair tensely talk about their sons, wastrel Biff (Mark Rhea) and philanderer Happy (Mike Innocenti).

Rhea has done his share of tormented characters, so the role of Biff is well-suited to him. In flashbacks, he shows Biff's transformation from a popular high-school athlete with a promising future to an aimless, unemployable drifter. When Biff learns of Willy's illicit paramour (played by Rhea's real-life wife, Susan Marie Rhea), his whole outlook on life changes for the worse.

Innocenti captures Happy's easygoing manner with women. His morals may not be lily-white, but he generally stays upbeat and is not entirely unsympathetic.

Akin taps into Linda's sadness and bottled-up rage. Woe to her sons when they finally cross the line.

Supporting players provide added nuances. David Jourdan is well-meaning and forthright as Willy's friend Charley, while Christopher Dinolfo makes a big transition as Charley's son Bernard, who goes from neighborhood busybody to big-shot lawyer.

Kevin Adams is enjoyable as Willy's late, successful brother Ben, who in flashbacks gives his sibling chances for adventure and fortune. And Jake Call is appropriately patronizing and callous as upstart office manager Howard, who sets in motion the final stages of Willy's demise.

The set by Stefan Gibson is appropriately dreary, with a few dull gray-brown appliances and furniture sprinkled over three levels.

So long as life remains at times a bleak, uphill, fruitless struggle, Miller's classic will have something to teach about human dignity and suffering. Keegan's production is well-acted and heartfelt.

Keegan Theatre presents "Death of a Salesman" through Feb. 18 at Church Street Theater, 1742 Church St., N.W., in Washington, D.C. Shows are Thursdays-Saturdays at 8 p.m., Sundays at 2 p.m. Tickets are $20-$25. Call (703) 892-0202.

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