Some might see it as a poisoned chalice, but for Nicholas Woodeson every part is a challenge and the lead in Death Of A Salesman was no different.

Albeit literally standing in a dead man’s shoes, Arthur Miller’s sombre title now holds an even deeper poignancy since Tim Piggot-Smith passed away while in rehearsals for the famous American classic.

“Tim was a wonderful actor and a real gentleman. We crossed at the RSC in 2001 so I met him a few times,” Nicholas remembers.

So when the acting company, creative team and touring partners decided to proceed with the production and national tour of Death of A Salesman, they approached Nicholas who has tried to make the best of the situation: “It is what it is,” he says sadly,”and it’s worked out. They had to reschedule a little because the whole play was ready to run when Tim passed away. But of course this was completely unprecedented, so it was very short notice.

Was it hard to take the reins with so little time until opening night? “While a bit bizarre it has worked out but I don’t want to dwell on that too much. Very few actors get the chance to make choices. You rely instead on what comes along,” he says very diplomatically.

Immersing himself in the play, Nicholas quickly got up to speed, loving the complexities of the story of Willy Loman and the American dream.

“Well it’s still so relevant today. Everyone can relate to Willy because he is trying to make something of himself and make sense of his life at the same time.

“Willy’s fundamental flaw is that he believes personality triumphs over everything, and that can be said of the entertainment industry today. But he doesn’t realise it’s all illusory. He fundamentally hitches his wagon to the wrong star, and that is his tragedy. But then Arthur Miller nearly called his play Inside His Skull as a series of thoughts ranging over 24 hours, which tells you everything you need to know about the play and it’s contents.”

Having lived and worked in America, and married an American, Nicholas enjoys playing an American classic to an English audience “They think they understand each other, but they really don’t. And I can say that with conviction,” he chuckles.

“Because people think this is just about the American dream, but it’s about so much more than that. Its about fathers and sons. It is unexpectedly complex.”

Having spent seven years at the RSC, he must be used to that though?

“I think people think actors find it easy. That is not the case, or not for me anyway. But it’s always the work that you are doing that matters. So I try to remember what I’m there to do.

“But for me the most interesting journeys are the characters I have least in common with, because I still have to get the audience to like them, or at least understand them.

“It asks more of you as a human being to make that journey because you have to look after your character.

“So even though Willy is alien to the British with his swaggering manhood, actors are fundamentally just lawyers defending their clients.”

Death Of A Salesman

Oxford Playhouse

Tues July 11-Sat July 15

01865 305305

oxfordplayhouse.com