Theatre has a certain danger that you cannot experience anywhere else’ - Halit Ergenç on returning to the theatre after over two decades away

Renowned Turkish actor Halit Ergenç made his return to the stage after 25 years in March playing Willy Loman in Arthur Miller’s Pulitzer winning Death of a Salesman. The show is currently running at Zorlu PAC, the largest dedicated performing arts theatre and concert hall in Türkiye. We spoke to Halit about why he felt now was the time to be back on stage, playing such an iconic character and the differences between film and theatre acting

The return after 25 years — You’re making your return to the stage after a twenty-five-year hiatus. What drew you back now, and what made Death of a Salesman the right vehicle for that comeback?

I didn’t feel the need to return to the stage for many years. Television gave me a different kind of fulfilment. But theatre has a certain danger that you cannot experience anywhere else, and over time I realised I missed that.

If I was going to come back after such a long time, it had to be something necessary, not just a return but a real challenge. Willy Loman felt like that role.

At the same time, one of the strongest motivations for me was meeting Rufus Norris. I travelled to London to meet him, and that first conversation created an immediate sense of trust. That connection made the decision much clearer for me.

Stepping into Willy Loman’s shoes — Willy Loman is one of the most iconic and complex roles in theatre history. How did you approach a character whose mind moves so fluidly between past and present, and what was the biggest challenge in bringing him to life?

I tried not to approach Willy as an iconic role, but as a human being.

Everything he does comes from a deep need to be loved and recognised. Once you focus on that, his contradictions begin to make sense.

Working on the text itself pushed me to question my own ideas of success, failure, and family.

It wasn’t about projecting myself onto the character, but about allowing the text to challenge me.

From screen to stage — Your TV work has reached audiences in 190 countries. How does performing live on stage differ emotionally and technically from the screen work you’ve been doing, and what have you had to rediscover or relearn?

Screen acting is about precision, while theatre demands continuity.

You cannot stop or adjust. You have to live the entire journey in real time.

Even though we perform the same play every night, each performance becomes a different experience. It is the same material, but every evening turns into a different journey.

That unpredictability creates a sense of curiosity before every show.

Working with Sir Rufus Norris — You were directed by Rufus Norris, the former Artistic Director of the National Theatre of Great Britain. What was it like collaborating with him, and how did his vision shape your understanding of Willy Loman?

Rufus creates an environment where you feel both safe and free at the same time.

He gives the creative team a wide space to explore and encourages everyone to use their full potential without holding back.

One of the most important aspects of his process is that no idea is ever fixed. Even the strongest ideas can be let go of at any moment.

That creates a real sense of freedom. Instead of holding on to something, the work keeps evolving and generating new possibilities.

There is a constant sense of movement in the process, as if the work itself is alive.

At the same time, there is a strong sense of honesty in his approach. He consistently pushes towards something truthful, without unnecessary decoration.

That combination of freedom, fluidity, and honesty was essential in building the role.

The relevance of the play today — Arthur Miller wrote this play in 1949 about the crushing weight of the American Dream. Why do you think this story still resonates so deeply with audiences — and particularly with Turkish audiences — nearly 80 years later?

Because the fear at the centre of the play has not changed. It is the fear of not being enough.

The pressure to succeed, to provide, to be respected remains very present.

Although the context is American, the emotional reality is universal.

The family dynamic on stage — So much of the play’s emotional power comes from Willy’s fractured relationship with his son Biff. How did you and Fatih Artman build that dynamic together, and which scenes between the two of you felt most emotionally demanding to perform?

Fatih and I have known each other for many years, and that creates a very direct connection on stage.

We did not try to build conflict. We focused on the connection underneath it.

The tragedy is not the absence of love, but the inability to express it.

Death of a Salesman is at Zorlu PAC in Istanbul until 16^th June. For more go to https://www.zorlupsm.com/