Although Arthur Miller is renowned as one of America’s greatest playwrights, his reputation is founded largely on his early plays, and in particular All My Sons (1947) and Death o f a Salesman (1949). His playwriting career spanned across a sixty-year period, yet his acclaimed plays were all produced during its first decade. The aim of this research is to tackle the myopic critical focus on his classic plays by examining works that were highly criticised in his own country at the time of their first production and devoting particular attention to his later and lesser-known works. The more inclusive approach highlights their significance within his oeuvre and traces the development of his aesthetic. A close examination of a play from each decade of Miller’s career is carried out in order to chronicle the decline in his critical popularity in America. The research significantly offers socio-political and cultural reasons for their negative treatment. His appearance before the House Un-American Activities Committee in 1956, and the controversy sparked by the perceived negative portraits of his former wife Marilyn Monroe in his plays had a seminal impact on public perception of the playwright. His critical perspective on American society served to alienate American audiences and led to a disparity in the reception of his later plays. The depreciation of Miller’s reputation in America coincided with his ascension to critical acclaim in Europe, The research thus makes reference to the response to Miller in Britain, in particular, where he is the most frequently produced playwright after Shakespeare. The British context serves to augment the fact that the plays discussed in this research merit inclusion in the scholarship on the playwright. His later plays are increasingly relevant to the current global environment and warrant revival and consideration in the reputation of Arthur Miller.