Poor Willy Loman is once again trying to convince his lousy sons that when it comes making a sale, reputation is everything. He’s right, of course: The fourth Broadway revival of “Death of a Salesman” in some 25 years is crowding the cavernous Winter Garden Theatre with outsize reputations — at least two of which appear strangely at odds.
Most people off the street probably know that Arthur Miller’s 1949 tragedy is a Serious Drama about the American Dream. And they likely regard Nathan Lane, this production’s marquee man, as a certifiable ham of uncommon sophistication, poised, more often than not, with one eyebrow raised as if ready with
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