If you need to contact someone about the rights to perform Miller’s plays go to Patrick Herold at United Talent Agency. In addition, within the US, licenses for most of Miller’s plays can be requested through the Dramatists Play Service, and if you are outside of the US often the place from where you get the scripts deals with such licensing, such as Concord Theatricals. For literary permissions, contact Sarah Chalfant of The Wylie Agency, 17 Bedford Square, London WC1B 3JA, who is Miller’s literary agent. t: 00 44 20 7908 5900 / f: 00 44 20 7908 5901. You might also check the Arthur Miller Trust site for updates, and learn about the Arthur Miller Foundation. 

Links to other American Drama Author Societies, Websites and Journals!

(please let us know if we can add your society/journal to this list)

Susan Glaspell Society
Eugene O’Neill Society
Thornton Wilder Society
August Wilson Society
Edward Albee Society (on Facebook)
American Theatre and Drama Society
Tennessee Williams Annual Review
William Inge Center/Festival
Sam Shepard

MILLER LINKS

Here we provide annotated links to other sites that are related to Arthur Miller and his work (also check out the teaching guides section that offers several links not referenced here that lend themselves specifically to teaching single plays). Please send us a message if you know of anything useful that we might add (please no sales sites). I try and keep these up to date, so do let me know if a link is not working or if you know to where something has been moved: e-mail  Sue Abbotson.

• Miller scholar Steve Marino, in a collaboration among the Arthur Miller Society, Inge Morath Estate and Arthur Miller Trust, put together this piece for Magnum: “Celebrating Death of a Salesman at 75” that revisits the life and legacy of this momentous cultural exchange through Miller’s own words and with photographs by Inge Morath: features pictures taken by Morath at the Beijing production, and various stills from the Dustin Hoffman one in 1984, and a few archive items from the Ransom Center.
  
• For JSTOR Daily, Matthew Wills offers a run down of a recent essay by Susan Abbotson that was published in the Arthur Miller Journal in regard to Miller’s writing of comedies.
• A collaboration between Magnum Photos, the Arthur Miller Trust and the Inge Morath Estate presents: “Arthur Miller, Neighbor and Friend” — featuring the photography of Inge Morath, with a text by Honor Moore (written 11 Aug. 2021). Also a memorial piece by Marigold Warner for her centennial birthday on 21st May 2023. Finally, in Yale’s Beinecke Library, the Inge Morath collection has many of her “personal rolls” are there are some gems, such as “1963-13” labelled “Young New York model, Jane Ellen Miller, daughter of Arthur Miller and Mary Grace Slattery (Rolls 1-2), 1963.” Other rolls of film including more of Jane, a bunch from the sets of plays like After the Fall and Incident at Vichy, several of Miller with Rebecca as a baby and toddler, and neighbors such as William Styron and Alexander Calder.

• A great media presentation now available on YouTube, by Stefani Koorey, titled ““Because it is my name!” Arthur Miller’s Moral Imperative, The Crucible and Miller’s HUAC Testimony,” that discusses The Crucible, and Miller’s involvement at the time with both HUAC and Marilyn Monroe. Great background for discussion of the play. Here is also a link to an excerpt from the exchange with HUAC from 21 June 1956, provided by PBS.
  
• The Miller Archives at the Harry Ransom Center in Austin, Texas. Contact Cline Curator of Theatre and Performing Arts Eric Joseph Colleary ecolleary@utexas.edu with any questions or for more information. Miller began placing his papers at the Harry Ransom Center in the early 1960s. Over the years, he placed additional material on deposit, they bought additional papers that were still held by the Miller family after his death. They spent two-years cataloging this 200+ box collection. A fully indexed finding aid is on the website: https://norman.hrc.utexas.edu/fasearch/, and most of the collection is open for research (some personal writings will not be accessible until 2029). The Center welcomes scholars and artists interested in Miller’s work. No advance application is necessary, and no appointment will be needed to access the papers. To assist in travel to the Ransom Center in Austin, Texas, they even offer a number of research fellowships. Applications for the each cycle of fellowships is usually available each August https://www.hrc.utexas.edu/fellowships/. The Center sees the Miller archive as central to its collection as this graph they developed shows: 

Some links to various articles and a video on the Arthur Miller Archive at the Harry Ransom Center in TX:

• A short film about the archive is available on YouTube: https://www.youtube.com/watch?v=wdM9f_RVhuA
• The press announcement about the archive: https://sites.utexas.edu/ransomcentermagazine/2018/01/09/playwright-arthur-millers-archive-comes-to-the-harry-ransom-center/
• The Ransom Center also holds a number of other archives with Miller-related material explained here: https://sites.utexas.edu/ransomcentermagazine/2018/01/09/arthur-miller-at-the-center-of-a-network-of-ransom-center-collections/

• None Without Sin: Arthur Miller, Elia Kazan and the Blacklist is the 1999 documentary directed by Michael Epstein for American Masters about the turbulent 1950s, when artists were made to choose their position. It was the era of blacklisting and at the center of it were Kazan and Miller and the act of testifying before the House Un-American Activities Committee (HUAC). Their decisions, when they respectively came to it, would ultimately color their careers and define their lives for many years to come. The documentary (just under two hours long) can now be viewed on YouTube.
• Link to Editor of the Arthur Miller Journal, Stephen Marino, interviewing noted playwright and screenwriter David Hwang (M. Butterfly, Chinglish) for an extended interview published in the Fall 2013 issue of the Arthur Miller Journal.
• St. Francis College Professor Timothy Dugan and Alumna Christine Bulger perform a reading of Arthur Miller’s The Price at The Arthur Miller Centennial Conference in 2015 at St. Francis College in NY, watch on YouTube.
• A link to Chris Bigsby’s Key Note Lecture from the 2015 Miller Centennial Conference held by the Arthur Miller Society at St. Francis College in NY both on the college website and YouTube.
• Just over an hour long, this conversation between Arthur Miller and Christopher Bigsby, was a collaboration between 92Y’s Unterberg Poetry Center and The Paris Review, and was recorded live at 92Y on January 4, 1999. The full interview ran in The Paris Review as The Art of Theater, No. 2, Part 2, in the fall of 1999. An interesting piece in which Miller discusses many of his later plays, from The Price through to Mr. Peters’ Connections.
  
• Broadway World has put a bunch of video interviews done of the opening night of several recent production of Miller’s works on Broadway for your viewing pleasure on YouTube: This is from All My Sons on Broadway in 2019 with Tracy Letts and Annette Bening (4 Apr.): https://www.youtube.com/watch?v=o2mErwlPfRs. This is from The Price on Broadway in 2017 with the cast chatting about the play on opening night (8 May): https://www.youtube.com/watch?v=DihngZHng8E; This is from Ivo Van Hove’s production of A View from the Bridge in 2016 with the cast and director chatting about the play on opening night (12 Nov.) https://www.youtube.com/watch?v=eq_3Q2kR6dY; and this is from the Broadway production of Death of Salesman in 2022 with the cast chatting about the play on opening night (10 Oct.)https://www.youtube.com/watch?v=mNm40-u26uQ.
• Link to an essay submitted to the open access online journal Literature in 2022 by Salvatore Talluto: “Thornton Wilder and Arthur Miller: A Brief History of Time, Space, and Matter.” The writer employs a cosmological interpretive strategy to analyze Thornton Wilder’s Our Town and Arthur Miller’s The Man Who Had All the Luck.
• Amanda Wrigley has worked on documenting many of Miller’s British TV productions for Screenplays TV, and below are links to articles she has so far written:

*2013 article on the 1957 (Granada/ITV), 1966 (Play of the Month production for BBC1) and five-part production in the English File series for BBC Schools in 1996 of Death of a Salesman.

*2013 article on a variety of 1950s television versions of All My Sons (1958), A Memory of Two Mondays (1959) and The Crucible (just the 1959 one for Granada).

*2013 article on the 1966 (ITV) and 1986 (BBC) British TV productions of A View from the Bridge.

*2013 article on the 1997 Broken Glass television production in the UK.

*2015 article on the 1959 (Granada), 1968 (Rediffusion) and 1981 (BBC) British TV productions of The Crucible.

• Article by Anna Rahmanan that deliberates on Monroe’s conversion to Judaism: “Monroe’s conversion made Jews feel more secure about their standing in the world, especially after the Holocaust, Robotham said. “It just showed that Judaism, coming off of the war, wasn’t something people were trying to hide,” she told The New York Times. “They were really celebrating Jewish culture and identity.” Lila Corwin Berman, author of Speaking of Jews Rabbis, Intellectuals, and the Creation of an American Public Identity, agreed, writing, “Marilyn Monroe’s short-lived marriage to Arthur Miller issued a public and celebrated challenge to Jewish sociological distinctiveness. . . . If a person who seemed so clearly not Jewish — from her appearance to her family history to her place in American popular culture — could become a Jew, then the sociological assumptions about Jewishness were in jeopardy of unraveling,” she added (145). Not everyone celebrated Monroe’s conversion, though. Egypt responded by placing a ban on all of her movies. In 1961, after the couple divorced, the Middle Eastern country lifted the ban and invited Monroe to perform there, but she declined.
• Interesting interview article with Agnes Barley for the Sunday Times by Ariel Leve from 2011 titled “Landscapes of Love from Miller’s Last Muse.”
  
• Great article by Bonnie Costello that promotes a recent production of Kimberly Belflower’s John Proctor is the Villain by Huntington Theatre, but also offers some interesting history of a 1962 extended version of The Crucible with which Miller was engaged back in 1962 with Boston University.
• “Arthur Miller Scandalous Truth. What He Did to Marilyn Monroe?” is the provocative headline of what is actually a fairly anodyne biographical video (just 9.30) on Miller recently put on YouTube by RARE history. It has a few facts wrong such as saying his mother was a school teacher (and a rather doubtful photograph of his graduation—is this really him?) but it has lots of cool pictures (though often rather misleading and anachronistic—such as one of him and Inge while relating his time at Michigan—and then pics of Miller with other guys [including Kazan] when later talking about how Rowe mentored him!). They actually titled the video “Arthur Miller: 10 Shocking Facts You Never Knew”—which only seems applicable if you’ve never heard of him before. Only a couple of the 10 deal with Marilyn and those basically tell us that Miller was very supportive of Marilyn in their time together and tried to help her become a more serious and respected actress, then swiftly moves on to a segment telling us about Miller’s humorous side—which somehow consists of his mother making a joke about Monroe pissing like a racehorse! Then it notes how much more of a productive relationship he had with his next wife, Inge Morath. So not sure where the scandal comes in… perhaps in #10 and the segment on Daniel? For me this section is a scandalous but only due to its odd selection of pictures while telling us about Miller’s fourth child. It begins with a picture of Miller with baby Rebecca in his lap, then pictures an actor who played Daniel in a play about this part of Miller’s life as if it was of Daniel himself, then has a still of a pensive John Huston on the set of Misfits, then a laughing Miller and Inge as the narrative notes they put Daniel in a home! [then another pic of Miller with baby Rebecca, and one of Miller in a car that Inge took for her “masks” book].
  
• New York Post piece on Pete Panto, the inspiration for Miller’s early unproduced screenplay The Hook, in anticipation of the 2023 Brooklyn production of the adapted play from the film. Here is also a link to an audio version of the screenplay: The Hook (says it is 1.42.38). This 2015 radio broadcast (broadcast on Miller’s birthday that year; 17 Oct.) was adapted from Miller’s screenplay by Laurence Bowen, and directed by Adrian Noble, with: Narrator – David Suchet; Marty – Elliot Cowan; Louis – Nigel Lindsay; Rocky – Michael Feast; Farragut – Tim Pigott-Smith; Piggy – Nathan Wiley; Enzo – Jonathan Guy Lewis; Sleeper – Kerry Shale; Therese – Joanne Pearce; Old Dominic – Vincent Riotta; Mama – Lorelei King; Irene – Hollie Burgess; Pete – Leo Heller. Sound Design by Wilfredo Acosta.
  
• Here are some useful webpages created by the NEA around Miller’s 26 March 2001 Jefferson Lecture (full text included) and other materials: encomiums from James Houghton and Christopher Bigsby, a 2001 interview with William R. Ferris, some bio-background information, and a few memorable short extracts from various plays.
• The Museum of Television & Radio, with locations in New York and Los Angeles offers The Laura Pels Foundation Arthur Miller Collection that plans to catalog and make accessible to the public all of Miller’s work currently in the Museum’s collection, including the 1973 PBS production of Incident at Vichy and Death of a Salesman, starring Brian Dennehy. Additional programs to be acquired include The American Clock (TNT, 1993); Playwrights Theatre: Clara (A&E, 1991); Theatre 625: Focus (UK, 1966); The Crucible (BBC, 1980); An Enemy of the People (WNET, 1966); as well as a sampling of the more than sixty Arthur Miller plays that have been produced for radio, including numerous productions from Columbia Workshop in the 1940s; Miller’s first Broadway play, The Man Who Had All the Luck, which aired on radio in 1944; a 1947 Theatre Guild of the Air production of The Story of Gus; and a 1954 NBC Radio adaptation of Death of a Salesman. Admission to the screenings is included with the Museum’s suggested contribution: Members free; $10.00 for adults; $8.00 for senior citizens and students; and $5.00 for children under fourteen.
• Here is a link to an interesting selection of short videos and sound pieces on Miller and his plays hosted by BBC.
• Though this movie short, “The Reason Why,” written by Miller as an anti-war piece in 1970 has been hard to find, it can currently be viewed on YouTube. Starring Eli Wallach and Robert Ryan, with Joan Copeland as an uncredited off-stage voice, it was filmed at Miller’s home in Roxbury, CT.

  

• Link to a blog post by Matthew Barton about Miller’s contributions to a series called Hidden Folklorists, which examines the folklore work of surprising people, including people better known for other pursuits, such as Miller.
• American Archive of Broadcasting has a bunch of interviews (mix of audio and film clips) with or about Miller (including many of those used in the American Masters documentary: Arthur Miller, Elia Kazan and the Blacklist: None Without Sin aired on 13 July 2007).
• Interesting article by Sarah Rebell for TDF that tackles the proliferation of new plays based on Miller’s characters (mostly those from Crucible or Salesman).
• Here is a link to several audio files associated with Miller—mix of interviews and play readings, some free other you need to purchase.
• Interesting article on the potential pitfalls of presenting Salesman with a Black cast.​
  
• Link to a site that considers the meaning of the name “Biff” that is quite intriguing! “Biff is a male name with English origin. It is believed to have emerged in the late 19th century as a nickname for the name Biffo, which is a colloquial term used in the UK to describe someone who is a bit of a bully or roughneck.” Apparently it also has a German equivalent: Artur! Picture above depicts a collection of Biff’s through the ages from US, UK and China.
  
• The Crucible 17 March 2021 streamed online discussion about Miller and Shakespeare at 7.30pm EST, as part of Shakespeare Hour Live series by Shakespeare Theatre Company, in preparation for an upcoming production of The Crucible in Sidney Harman Hall, 610 F Street NW, Washington, D.C (dates TBA). Hosted by Simon Godwin, Artistic Director; and Dr. Drew Lichtenberg, Resident Dramaturg. With panelists: Whitney White, OBIE Award winning director (who will be directing the upcoming production); Jason Butler Harner (played Parris in Ivo Van Hove’s The Crucible); and Dr. Susan Abbotson, Miller Scholar and professor of English at Rhode Island College. The episode is available on their YouTube website.

  

• An assessment by Laurence Goldstein about Miller’s close relationship with the Michigan Quarterly Review over the years, written shortly after Miller’s demise.
• In response to Rebecca Miller’s documentary Arthur Miller: Writer, Tara Hanks offers her overview of the documentary and Miller’s life, and includes some great pictures from Miller’s life along the way.
• In April of 2004 Arthur Miller, a loyal alumnus, made the last of many visits to the University of Michigan. Students had prepared a performance of scenes from his plays for the occasion, and Miller visited a rehearsal and spoke with them about their work. He conferred with administrators about plans to build the Arthur Miller Theatre which when completed opened with a production of Playing for Time. During his visit Mark Lamos, who had directed Miller’s work in the past (and performed in the premier of Creation of the World), hosted a symposium for the author while he was on campus. The transcript was published in the Michigan Quarterly Review 46.1 (Winter 2007).

  

• A useful archive of brief BBC radio shows that include a nice biography of Miller from Christopher Bigsby, interviews with a bunch of theatricals who have work with Miller’s plays, and links to some other written articles, sadly the links to the Bite-Size guides to various plays no longer appear to be working.
• Winsome Pinnock is an award-winning British playwright whose plays include Tituba, The Principles of Cartography, Mules, Leave Taking, and Rockets and Blue Lights. She is a Fellow of the Royal Society of Literature. She wrote this piece “Reclaiming Tituba: The Real Story Behind Arthur Miller’s character” for the Yale Review 6 Dec. Winter, 2022, in which she explains how she became fascinated with Miller’s characterization of Tituba and decided to create her own dramatic version.
• A short article from October 2020 by Salma Khalid for the (International) The News on Miller’s stance against McCarthyism (Part 1); and here is the link to Part 2.
• Links to an interesting Alt Film Guide to “Miller at the Movies” by Andre Soares—that covers: All My Sons (1948 version with Robinson and Lancaster), Death of a Salesman (1951 version with March), The Crucible (twice—Sartre and Hytner versions), A View from the Bridge, and The Misfits. This three-part article is apparently a revised, expanded version of a brief obit published at the time of Miller’s death in February 2005 and briefly references other movies with which Miller was involved and movie versions of various plays.
• In February 2017, Humanities Texas held a teacher professional development workshop in San Antonio titled “Teaching Drama.” David Kornhaber, associate professor of English and comparative literature at The University of Texas at Austin, presented this lecture examining Arthur Miller’s place in twentieth-century American drama.
• Short basic piece at GeekVibesNation on film adaptations of The Crucible.
• Interesting article by Stephen Winick about Miller’s work in the early 1940s for Alan Lomax and the Library of Congress, includes a link to a recording of Miller’s resulting script: the Library of Congress Radio Research Project. This is History. Wilmington, North Carolina.
  
• Rewarding written interview with Rebecca Miller about her father after the release of her documentary: Arthur Miller: Writer.
• HBO page for Rebecca Miller’s 2018 documentary, Arthur Miller: Writer--available to stream for a fee.
• The We Are Actors magazine website publishes monologues for its’ readership and on 10 June 2022, created a series of potential audition pieces drawn from Miller’s plays: https://weareactors.com/arthur-miller-monologues/ Also has a biography page January 15, 2022: https://weareactors.com/arthur-miller-an-american-master-playwright/ Beware of the confusing child picture of Dean Stockwell from Gentleman’s Agreement that is being used in place of one of Miller as a child! And a Greatest Plays page (that interestingly includes The Man Who Has All the Luck among the more obvious choices): June 10, 2022: https://weareactors.com/arthur-miller-plays/
• Programming from BBC’s Radio 4 that covers Miller’s connection to music: “Arthur Miller: The Accidental Music Collector.”
• Good article from the publisher Nick Hern about his association with Miller; they first met in 1983.
• 20 minute video of Miller talking to Charlie Rose about the 1999 revival of Death of a Salesman.
• A link to the home site of Santa Barbara of the air on which, among other recorded plays, there is a 33 minute Mp3 recording of “I Can’t Remember Anything” by Santa Barbara Theatre of the Air. Performed by Salome Jens and Mitchell Ryan, produced and directed by William Smithers for KCSB. There is also a direct link below in case the website is not working or you just want to access it directly:
  

• The Pussy Cat And The Expert Plumber Who Was A Man (as radio play) [https://www.facebook.com/PineIslandPlayhouse/videos/1346898095504482/] by The Pine Island Playhouse, Bokeelia, FL (to replace their scheduled stage show, the cast submitted their lines remotely). Directed by Nichole Pichon, with Tom Crosby, Cindy Bickford, Lilly Overbaugh, Matt Travers, Burton Fisher, Kaylin Hill, Karla Arceneaux, Julie Pichon, Tonya Player, Anthony Marchitto, Andy Glorioso, Paul Pichon, Steve Pichon, Sandip Kumar, Ava Brainard, Caden Koch, Caitlyn Turner, Angela Kerr, Jessica Turner, Jackie Nettleton, and Julie Powell. 40 minutes long.
  
• Check out the new “Fan Fiction” Archive of Our Own—organized by source material, you can view more than four dozen works inspired by The Crucible, from “John Proctor finds someone that truly understands and loves him, like he deserves to be loved” to “A fictional conclusion to Abigail William’s story in the years following the events of Arthur Miller’s The Crucible. Abigail, having made a new life some years after the Salem Witch Trials, is forced to face a supernatural threat to her home as well as her past sins” to “A remix of The Crucible‘s “God is Dead” scene from the point of view of John Proctor” and many more! (they also have a few for A View from the Bridge, but none for Death of a Salesman or All My Sons).
• The popular cartoon show The Simpsons contains several references to the playwright; The simpsonswiki site will guide you to all the ways Miller has been addressed, including Lisa’s dream in which she was being awarded a Kennedy Center Honor alongside Miller!
• Interesting commentary by Ayelet Dekel for Midnight East on how Miller is viewed in Israel through a review of a translated production of The Crucible.
• Two short clips from 1971, in which Miller talks to CBC (Canadian Broadcasting Company) about writing, politics and the future, and about communism.
• Link to a Walter McBride photo of Miller from 1993 which says it was taken outside the American Airlines Theatre–however, American Airlines Theatre did not open until 2000, after three years of renovations by the Roundabout Theater Company who bought the run-down space in 1997. Originally the Selwyn Theatre, it had been long closed (last play there had been 1950). So, either Miller was checking out theatre real estate or the date is incorrect.
  

• A 1987 interview between Miller and Mike Wallace (there is a great moment when Wallace points out to Miller that his face changes when he talks about Monroe).
• Arthur Miller Birthday Commemoration took place on Saturday, October 21, 2017, at St. Francis College in Brooklyn Heights, sponsored by the Arthur Miller Society. The program began at 3 p.m. with remarks by Arthur Miller Society President David Palmer and a keynote by Susan C.W. Abbotson, Professor of Dramatic Literature at Rhode Island College. Jessica Hecht was interviewed by Janet Balakian of Kean University and Stephen Marino, the editor of The Arthur Miller Journal. Here are links to the recording on St. Francis College’s website, and on YouTube, also the interview with Hecht will be published in an upcoming edition of the Arthur Miller Journal.

  

• The PEN America Digital Archive launched on July 26 with over 1,500 hours of audio and video material newly accessible to the public, including several speeches by Miller. The Princeton archive chronicles 50 years of PEN America’s programming on literature and freedom of expression.
• Westport Playhouse put together this great “Introduction to Miller” short film; the first 11 minutes gives a brief background with pictures, interspersed by comments from several leading scholars, then the last 7 minutes talks specifically about Broken Glass. Access on YouTube or through the Westport Playhouse website.
  
• A well-intentioned tribute from Broadway World.com, but a little patchy (and a few details are incorrect), also, it ignores all his plays of the 1980/90s and only references The Final Picture of his C21 plays.
• POD CAST on Miller’s Centennial broadcast on BBC Radio 5  from the Janice Forsyth Show (18 minutes); she talks to the Rapture Theatre Director Michael Emans about their two touring Miller productions this year, All My Sons and The Last Yankee, and to leading Miller scholar, Chris Bigsby. Includes a clip of Miller talking about All My Sons.
• During its production of Broken Glass in 2015, New Repertory Theater filmed a symposium and talk back with scholars Sue Abbotson, Joshua Polster and David Palmer on the topic of “Examining Arthur Miller: How Life Influences Art.” A two part video of this can be accessed on YouTube. Part one, and Part two.

  

• The Hook: two items, the first a YouTube video created to advertise the premiere production of a stage play adapted from Miller’s screenplay at the Liverpool Everyman Theatre, and the second a link to various photographs from this 2015 production.
• PLAYBILL is building some interesting archives, here, for example are some photographs of past productions of The Price, which has now been produced on Broadway as often as Death of a Salesman and A View from the Bridge. And here is a link to their overall “Miller” vault. James Baldwin here talks, frankly but fairly slightingly, about Miller around the time of After the Fall.
  
• 
• A & E offers a basic biography of the playwright.
• The Guardian offers a small gallery of stills from past productions of Death of a Salesman.
• Audio/digital Recordings Check out the L. A. Theater Works catalog to order audio tapes or CDs of various Miller plays; now available in digital download. They currently have The Crucible,Death Of A Salesman, A View From The Bridge, All My Sons, The Price, Incident At Vichy, The Man Who Had All the Luck, After The Fall, The Ride down Mount Morgan and Broken Glass and a general Miller celebration, Arthur Miller – A Life, and may add further to the list. These are excellent resources with big name actors in the casts, so check them out.The complete Arthur Miller Collection of the plays is available for digital download. To order the complete Arthur Miller Collection from L.A. Theatre Works for $39.95, go to latw.org/title/arthur-miller-collection. CDs are also still available for $75.95 for the complete set. Since 2025 they are now also available to stream for a subscription (monthly or annual): Check it out at https://streaming.latw.org/
• Teatro Vista video series on YouTube with actors taking part in their 2014 “All Latino” production of A View from the Bridge, talking about their conception of the roles: Eddie, Beatrice, Alfieri,  Rodolpho, Marco, Catherine, and the Director (Ricardo Gutierrez).

  

• View photographs of the Russian production of The Price (Tsena), that opened in November 2012 and continues to play on select dates.
• Concert In Athens, the tenth ECM release by Greek composer Eleni Karaindrou, incorporates moving performances by guests violist Kim Kashkashian, oboist Vangelis Christopoulos, and saxophonist Jan Garbarek. A primary emphasis is music written for theatre: including pieces for plays by Arthur Miller (“Requiem for Willy Loman”), Tennesee Williams and Edward Albee. Recorded November 2010.
• Link to NY Post where David Amram tells about meeting with Miller to compose the music for After the Fall: “It was at Igor and Sonia Sudarsky’s classic neighborhood delicatessen that I worked with Arthur Miller composing the music for his play After the Fall. Miller loved Greenwich Village, and the Art was where anybody and everyone would go — there were no A tables, and Igor would make you a gigantic sandwich. He used to let me make my own behind the counter. Dustin Hoffman lived right around the corner, and after he did Midnight Cowboy, he still went to the deli because Igor was so nice to him. Whenever he had an interview, he’d take them there, so Igor would have more customers.”  Also a link to a YouTube page that has four versions of David Amram performing “Waltz in D Minor,” the music that he composed for After the Fall. 
• CBC interview with Arthur Miller soon after he published In Russia. He talks about the oppression he sees in all political systems, how he survived HUAC, and his love of America.
• A short British documentary recently loaded to YouTube that covers Miller’s years with Marilyn Monroe. Includes interviews with Miller, in which he talks, fairly candidly, about his relationship. There are two parts–totaling around fifteen minutes. Part one. Part two.

  

• UKs Guardian offers a series of photographs of Miller and Monroe during their marriage.
• Christopher Bigsby discusses Miller’s reputation in America in this Guardian article.
• Clip on YouTube has an excerpt of Miller on 60 Minutes in 1999 during which he reflects on Marilyn Monroe. The video showing the whole show has been removed.
• Another British documentary on the Miller/Monroe match from YouTube.
• Digital Theatre: 2010 Apollo Theatre’s notable West End production All My Sons is available as a downloadable production (or to stream) from £6.99 at the Digital Theatre website. Directed by Howard Davies and designed by William Dudley, with David Suchet as Joe Keller, Zoe Wanamaker as Kate Keller, Stephen Campbell Moore as Chris, and Jemima Rooper as Ann Deever.
• Arthur Miller Trust Only limited information, but the official trust should have up to date contact information for performance rights and Miller’s literary agent, as well as a brief bio., list of works, and some major performances.

  

• Focus LINK SADLY NO LONGER WORKS–if you know where this can be accessed again, please let us know. Here you used to be able to view the 1962 NBC television version of Miller’s 1945 book, Focus, with James Whitmore and Colleen Dewhurst. Miller did not write this strangely mangled production–but an interesting adaptation nonetheless. It certainly makes the 2001 movie version seem almost faithful, despite its altered ending.
• Old Time radio: You can listen to Orson Welles in Miller’s radio drama Thunder from the Hills. A thirty minute treat in which Welles appears to be reading all the parts.
• Links and lessons.  A fairly comprehensive selection of other links here to sites that have Miller biography, and specific materials on Death of a Salesman, The Crucible, All My Sons, and A View from the Bridge—many of these contain useful lesson plan material—especially the All My Sons study guide for GCSE level (that would be grade 8-10 in the US).  I’m putting a link to this one on our lesson plans page too. They keep adding, and now have a separate page for all of the material they have gathered on The Crucible.
  
• Miller Archives:  University of Delaware library Special Collections Department. Richard Hoffman-Brooklyn theater collector and book dealer, built the Arthur Miller Collection over a period of fifty years.  Contains play scripts, screenplays, photographs, correspondence, financial documents, posters, flyers, periodicals, journals, theater programs, news clippings, and ephemera. The collection is open for research, and you can check out a list of their holdings on-line.
• Probably the largest collection of Miller materials can be found at the Harry Ransom Center, at the University of Texas at Austin. Materials are still being cataloged (hope is to complete by Nov. 2019), but the extensive archive contains early sketches, notes, and draft versions for most of his plays, including Death of a Salesman, The Crucible, The View from the Bridge, After the Fall, and The Archbishop’s Ceiling. Also present are essays about the craft of playwriting, thought to be the closest thing to a complete ‘Poetics’ yet written by an American playwright. Radio scripts, numerous versions of his “cinema novel” The Misfits, interviews, speeches, articles, correspondence files, and scrapbooks are here as well.
• “The Death of Arthur Miller,” was once accessible at “Song a Week” where you could hear a song written by Tom Flannery to commemorate Miller’s passing; sadly the website is no more.
• NPR’s On Point: Death of a Playwright, aired the evening following Miller’s death on Feb. 11th 2005. Harold Bloom, Marsha Norman, Jack Beattie and Sue Abbotson discuss Miller’s legacy. The site keeps changing how you find the show, but it is there in the archives.
  
• A link to the BBC archives where one can hear the writer’s voice when he was around 26 years of age. 
• Death of a Salesman This is the Eugene O’Neill Theater’s site that offers a wealth of material about Death of a Salesman to go with their 1999 production of the play. Along with information on the O’Neill production, with biographies of the cast and creative team, you can access reviews of this production and key past productions, a variety of information on Miller, and study guide materials. You can even order tickets and souvenirs. On Miller they offer a fairly detailed chronology, brief bio. and bibliography of major critical works, and the script of Matthew Roudané’s 1985 interview with the playwright. Under “study guide” you can access fairly lengthy excerpts of various books and articles relating to Death of a Salesman by Miller and other scholars. Study guides for students and teachers, and transcripts of on-line chats with Miller and Brian Dennehy. All told, one of the most useful sites on Miller currently on the web.
• Salesman Concordances  SADLY NO LONGER WORKS–if you know where this can be accessed again, please let us know. Did you know the name Willy is spoken 128 times in the play, but Linda only 22?  This was a database with all of the acting dialogue (N.B. none of the stage directions etc.) from Death of a Salesman in a full concordance format in which every word is indexed and connected to its textual context. You could view alphabetical word lists, frequency of words, and the text of the acting dialogue. A little confusing at first to navigate, but an interesting research tool once you get the hang of it.
• Internet Movie Database http://us.imdb.com/ gives production details of a number of TV and film projects at home and abroad, along with some fun trivia.
  
• Curtain Up. Curtain Up offers an interesting site which is easy to navigate.  It gives some basic background to Miller, and a list of his “trademarks” but, most importantly, a whole collection of reviews of recent productions of Miller’s plays in New York and Williamstown, MA and they keep adding.  A useful study tool.
• The Crucible  Historian Margo Burns tries to separate the fact from the fiction in Miller’s play, pointing out historical details which differ from Miller’s artistic recreation of events.  This is part of an historical site with an interest in 17th century colonist New England. Burns lists historical inaccuracies in The Crucible, and points to resources where these details can be confirmed. She ends by asking some interesting questions regarding how inaccurate historical recreations (often created in the name of art) might impact the historical awareness of the reader/viewer.
• Basic background from Spartacus Educational on Miller and his best known works from the UK, aimed at Secondary/High School students.