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When Arthur Miller died in 2005, most of the obituaries described him as a playwright of the first rank—though a few of the critical appraisals of his work that accompanied those obituaries were flecked with lingering doubts. Charles Isherwood’s New York Times “appreciation,” for instance, was decidedly mixed. “Even in his finest work,” Isherwood wrote, “he sometimes succumbed to overstatement. . . . Themes, motifs, moral conclusions often glare from his plays like neon signs in a diner window.”

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