Tag Archives: David Mamet

Mamet’s Oleanna Remains An Unsettling, Provocative Night

A quarter-century on, the temptation is to r reinterpret Oleanna, David Mamet’s incendiary screed about toxic relations between men and women. But Evening Star Productions’ rendition in 2017’s not-so-brave new red state world underscores Mamet’s original politically incorrect indictment of political correctness spun insanely out of control.

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Maltz Sells Scorching, Atypically Profane Glengarry Glen Ross

The Maltz Jupiter Theatre delivers a courageous and skilled revival of Glengarry Glen Ross that depicts a group of foul-mouthed cutthroat Chicago real estate for whom nothing is out of bounds in order to make a sale.

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Actresses’ Efforts Inject Passion Into Stilted Talky Mamet Philosophy-Fest, The Anarchist

Not every show is a home run. But that doesn’t deprive the audience of an interesting night when talented actresses make a flawed script land as well as can be hoped. Patti Gardner and Jacqueline Laggy are worth watching spar in David Mamet’s decidedly difficult mess of a script, The Anarchist.

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BRTG Spinoff Primal Forces To Stage Mamet’s The Anarchist

A brand-new troupe, Primal Forces, is targeting a group previously left to fend for themselves: the Boomers who came of age during the political and social tumult of the 1960s and 1970s. The company opens with David Mamet’s The Anarchist at Andrews Living Arts Studio in Fort Lauderdale

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Maltz’s ’14-’15 Season: Fiddler, Les Miz, Les Wiz, Les Shue And @#$%^ Glengarry Glen Ross

The Maltz Jupiter Theatre has been nudging its mainstream audience for years toward relatively riskier fare, but the slate announced today for its 2014-2015 season includes one entry that will never be mistaken for Oklahoma: David Mamet’s scorching drama Glengarry Glen Ross.

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Run the Race With GableStage

Lawyers banter about innocence and justice in David Mamet’s incendiary play at GableStage, but the characters don’t bother to dissect long-decided issues about how the judicial system’s sausage is made. The title of the play and the real subject is Race. The double-helix construction of the twisting dialogue underscores Mamet’s thesis that bogus baggage of race relations subverts any meaningful discussion of seemingly straight ahead subjects as innocence and justice.

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