For actor-turned-playwright Katie Forgette, Arthur Miller’s Death of a Salesman — often considered one of the greatest plays of the 20th century — has resurfaced again and again throughout her life. Starting with a theater class in high school (then in college, and again in grad school), Forgette studied the text under instructors who held it in such high regard that they often discouraged her probing inquiries about its protagonist. 

“I questioned whether or not the character of Willy Loman was a tragic hero because (he) never has a moment of enlightenment — an ‘ah-ha’ moment — recognizing and accepting the fact that he is where he is because of his own behavior,” Forgette says. “But no one wanted to hear my questions. There was a sort of halo around the play.” 

Now, after continued run-ins with Miller’s classic, Forgette isn’t afraid to keep asking hard questions. Her forthcoming play, Mrs. Loman is Leaving, which touches on themes from the original text but with a pointed focus on the female experience in the theater, will have its world premiere this fall at A Contemporary Theatre (ACT), from Oct. 12 – 27. “I knew a long time ago that I would probably write a play where Death of a Salesman was a part of the script in some way,” Forgette says. “It’s partly about aging in the theater and what people in that world, particularly women, give up to be there.”

Directed by Julie Beckman and featuring a local cast (including Forgette’s husband, actor Bob Wright), the backstage comedy is set on opening night of the fictional Teacup Theatre’s production of Death of a Salesman at a historic venue in New York. The protagonist, Joanne (played by Alexandra Tavares), is set to perform as Linda Loman, returning to the stage after a multi-year hiatus while raising her family. George (acted by Wright, who is known to local audiences by his Actors’ Equity name, R. Hamilton Wright) is the aging thespian in Willy’s role, and his increasing disorientation in the face of a comeback performance forces Joanne to hold the show together.

“As soon as I read it, I fell in love with it,” says Beckman of the play, which was originally workshopped in October 2023 as part of ACT’s inaugural New Works Northwest Festival. “It has all of the elements that excite me. It’s a world premiere from a local playwright, it has a connection to an iconic piece of theater, and it looks at the theater (industry) from a woman’s perspective. All of the roles are well developed. The characters are flawed but loveable and I think that comes from Katie’s experience with acting. She knows how to write for actors.”

Set in a backstage space piled high with paraphernalia from previous shows, Mrs. Loman is Leaving nods to the created magic of the theater, while acknowledging that things behind the scenes aren’t always as shiny or smooth as they appear on stage. “Katie has cleverly placed most of the play in a prop room turned makeshift dressing room, which allowed her to include all this colorful theater history,” says Beckman, noting that those with a good eye — and dramaturgy knowledge — will spot some Easter eggs in the set. “You get a sneak peek into what it can be like backstage. It’s not always glamorous.”

For Forgette, who has written across a mix of genres — drama, comedy, historical adaptations — it’s not as much about broadcasting a lesson as providing people with a night of entertainment. “I don’t tend to write issue plays,” she says. “It takes a lot to go out these days, to get in a car after work, find a babysitter, pay for parking. I really respect that it takes something to go to the theater, and I hope that audiences feel rewarded, that they laugh, and are glad they came.” 

Of course, if the play leaves them with a question or two — especially if that question sparks a greater dialogue — Forgette is the first to encourage the asking. 

“Mrs. Loman is Leaving” runs Oct. 12-27 at ACT Theatre.