Race

"Race" at the Ethel Barrymore Theatre, February 25, 2010

(Photo by Robert J. Saferstein)

David Mamet's latest effort in provocation is now running on Broadway in the form of Race.  The story swirls around the law firm hired by a very rich, white man to defend him against charges of rape, leveled by an African American woman.

The defendant, Charles (Richard Thomas) has already fired his attorney once and is shopping his case around.  Law partners Jack Lawson (James Spader) and Henry Brown (David Alan Grier) get roped into taking the case when their clerk Susan (Kerry Washington) mistakenly gets copies of the indictment and police reports from the district attorney, constructively making them the attorneys of record before they've had a chance to actually make a decision on it.  Mr. Mamet metes out plot twists and revelations a bit obviously at times, but manages to keep the tension high as the white and African American characters examine and expound upon their own views of race in contemporary society.  Mr. Mamet has toned down the volume of f-bombs, but plugs in the n-word as a substitute.

Mr. Thomas plays Charles so simpy and passive that I fully expected one of the plot twists to be that Charles is gay. (he's not, btw)  Beyond that, Mr. Thomas suffers from "Jasmine Guy Syndrome," his presence practically sucking all the energy out of the theatre as he makes his entrance. (so named by a similar situation in Richard Greenberg's The Violet Hour from which Miss Guy resigned due to "health issues" during previews in 2003).

As Susan, Ms. Washington wavers between capable and self-conscious.  Sometimes she gets the "Mamet patter" and sometimes she doesn't.  Mr. Grier fares better, but doesn't have much to do, other than prompt tension among the characters onstage with him. 

It is Mr. Spader, making an impressive Broadway debut as Jack, who carries the weight of the evening.  He certainly has experience playing a clever lawyer from his years on TV's "Boston Legal" and it shows.  He also adapts well to the language and rhythm of Mr. Mamet's writing.

Santo Loquasto's law library spills the story forward on the raked stage, serviceably, if unexceptionally lighted by Brian MacDevitt.

It's a better entry to this year's play season than last fall's "Oleanna" but there are similarities to "Speed The Plow" which keep this play from feeling wholly original, particularly a woman in a subservient position who may or may not be working from her own agenda.  Still, it's at least another new play, versus yet another revival.

Oleanna

"Oleanna" at the Golden Theatre, October 9, 2009

David Mamet's 1992 work, "Oleanna" twists a tale of a college professor trapped into a battle with a female student. John (Bill Pullman) came reluctantly to the world of academia, never having fully jettisoned the baggage of his upbringing which labeled him as stupid. Capitalizing on this weakness, Carol (Julia Stiles) first appears in his office after class, desperate for help to pass his course. It's a frustrating and unsatisfying work. (Spoiler Alert)

In the first scene, John is trying to negotiate the purchase of a new house - something more befitting his incipient tenure at the college. Phone calls repeatedly (and predictably) interrupt his appointment with Carol. She appears vulnerable and near her wit's end at what to do, since failing the course would cause a significant setback to her ambitions. Emotions run high and John wants to help, offering to work with her individually to get her back on track and through the class successfully. Some of Carol's own baggage is intimated along the way as she wavers on the edge of emotional control.

When the lights come up on scene two, the tables are dramatically (almost inexplicably) turned. John's tenure is now in jeopardy, since Carol has filed a complaint of sexual harassment against him following their first meeting. By the third scene, not only has John been suspended from the school, Carol has filed attempted rape charges with the local police. John finally snaps and the curtain falls as he attacks her.

Mr. Pullman brings us a man strung so tightly, it's a wonder he didn't snap years before, yet there is a kindness within despite the haughty attitude of "esteemed academia." His stammered delivery works very well with the rat-a-tat style of Mr. Mamet's writing.

Ms. Stiles, in her third appearance in this role following productions in London and Los Angeles, brings a full emotional commitment to her scheming and heartless character. We get no foreshadow of the evil intent during the first scene, making the character shift all the more shocking. Despite her sense of emotion, her actual delivery of the lines sound as though she's reciting verse, rather than speaking naturally as her character. I've always thought that Mr. Mamet's rapid-fire, overlapping writing style is one that only certain actors can master. Sadly, Ms. Stiles isn't there yet.

Director Doug Hughes seems to have needed more time to get the "Mamet-speak" smoothed out. He has clearly come down on John's side here, leaving Carol as a vicious and bitter harpy. And bitter is the taste that will leave the theatre with you.

Neil Patel's office set is dramatically nicer than any college office I've ever seen, though the annoying automatic raising and lowering of the levelors between scenes felt totally pointless. This was exacerbated by the poor quality sound design resulting in ear-splitting feedback reverberation.

It's nice to see Mr. Pullman back on stage in NY and I'm glad that Ms. Stiles is making her first open-run appearance. I hope to see her back again in a more suitable vehicle.

Two Unrelated Plays by David Mamet

"Two Unrelated Plays by David Mamet" at the Atlantic Theater Company, September 26, 2009

It seems as though Mr. Mamet has taken up the economy of writing that Ethan Coen has exhibited at the Atlantic Theatre Company over the last couple of seasons (Offices, Almost An Evening) and presented a similar character study, along with a more fully written one-act play.

In the character study/sketch, "School," Mr. Mamet begins with something of a riff on the old Abbott and Costello "Who's On First" as two school administrators (ostensibly) argue the merits of a grade-level wide project to create hundreds of posters extolling the theme of "Recycle Paper and Save the World." The following stream of concious (or more simply non-sequiturs) run the topic from recycling to the destruction of matter to the destruction of Dresden to the nature of history to the registration of child molesters and then bouncing back through, resulting in conspiracy theory suspecting the Custodial Union of political plotting. We never learn anything about these characters named only A (John Pankow) and B (Rod McLachlan), though the actors do manage to sustain the patter for the full 10 minutes of the piece.

In the second presentation "Keep Your Pantheon," Strabo (Brian Murray), the actor/manager of a Roman troupe, struggles to keep the act booked while lusting after his young protege Philius (Michael Cassidy). Pelargon (John Pankow), the other troupe member hangs out attempting to be a seldom successful voice of reason. Havoc ensues as they search for ways to get the troupe hired, ending up in the wrong house and insulting the General who enlists them to die at Caesar's command following the legion's recent military loss. Toss in a drunken hobo and a lucky (or unlucky) talisman and you end up almost as confused as I was. Beside the convoluted plot, the dialogue is pretty funny, reminiscent of the anachronistic humor of "A Funny Thing Happened on the Way to the Forum." Mr. Murray's Shakespearean Strabo, replete with an old man's beer gut carries most of the show. Mr. Cassidy's Philius is a Roman twinkie in the truest sense, barely able to speak but a physical beauty. Jordan Lage gives an understated take on Lupus Albus (white wolf) the insulted General reminding me a bit of Patrick Warburton (Elaine's boyfriend Puddy on Seinfeld).

Takeshi Kata's sets are serviceable if a bit spartan, generally complemented by Christopher Akerlind's lighting. Director Neil Pepe uses a heavy hand for the almost vaudevillian proceedings, heavy on the sight gags, stand-up one-liners and double-takes.

Strange Bedfellows

"November" at the Ethel Barrymore Theatre, January 5, 2008

David Mamet's latest play "November" has begun performances with Nathan Lane playing an incumbent president on the verge of losing his re-election bid. The jokes begin early with plenty of less-than-veiled references to the current situation in US politics. (Spoiler Alert)

Taking place late in the week before election day, there's an unpopular war in Iraq, instigated by this now unpopular (and presumably Republican) President Charles Smith (Mr. Lane). His Chief of Staff, Archer Brown (Dylan Baker) quickly summarizes the source of his issues, "You've f****d up everything you've touched."

President Smith's unseen campaign director Barry has already given up the ship and headed to Nantucket to ride out the aftermath. His head speech writer, Clarice Bernstein (Laurie Metcalf) has just returned from adopting a Chinese girl with her partner, their new child and the flu. Smith demands her presence despite her illness in a last-ditch effort to save his legacy. A Representative of the National Association of Turkey By-Products Manufacturers (Ethan Philips) has arrived with two turkeys in tow for Smith to provide the annual "pardon" for this year's Thanksgiving at a press conference to be held the next day. Seizing on the opportunity, Smith demands the Turkey Association to increase their donation from $50,000 to $200,000,000. When they balk, he attempts to discredit the consumption of turkey at the original Thanksgiving in favor of tuna ("Isn't the Indian word for codfish pronounced "toona?"). He then insults the head of one of the Indian nations, after declining the chief's request for the island of Nantucket on which the Indians would build a 2000 bed hotel and gambling casino in exchange for endorsing the "toona" story.

Clarice drafts a quite moving speech in her feverish state, then demands that Smith marry her to her partner before she gives him the speech to deliver, during the press conference when he pardons the turkeys. Her plea unwittingly convinces Smith to try to win the election using the money from the Turkey Association.

So there it is, gay marriage, the war in Iraq, Native American relations and a threat of bird flu all peppered with enough racial and politically incorrect insults to make you think it was by Mel Brooks, except for the missing bathroom humor. There are plenty of funny moments in this evening of one-liners (Smith: "I always thought I'd do something memorable. I assumed it would be getting impeached."), and the energy of the production is good. Mr. Mamet's use of the "f" word as his go-to adjective is as faithful as ever in this play, though he hasn't matched the 12.5% penetration high water mark he set early in his career with "American Buffalo." Still, it felt a bit like a sitcom love-child of NBC and HBO, dragged out in 2-act form. Some trimming would be in order to the tune of about 25 minutes plus the intermission.

Mr. Lane is in his most Gleason-esque form here, rubber-faced and chewing up the remarkably beautiful Oval Office set by Scott Pask. He's got all the great tricks at hand, telephone calls and asides. Mr. Baker is suitably obsequious, playing straight man to Mr. Lane's antics. Ms. Metcalf's Clarice is passionate and real, despite some of the stereotypical dialogue provided by Mr. Mamet.

Joe Mantello directs, keeping the play moving appropriately apace.

A Bit of Dirty Business

"The Voysey Inheritance" at Atlantic Theatre Company, January 16, 2007

David Mamet's adaptation of the Harley Granville Barker play points out to me that Mr. Mamet loves a bit of dirty business. (Spoiler Alert)

Edward Voysey (Michael Stuhlbarg) has just figured out that his father Mr. Voysey (Fritz Weaver) has been cooking the books in the family trust business for at least the last ten years. When confronted about it, Mr. Voysey informs Edward that he "inherited" the same situation with the business from his own father many years earlier. Nearly apoplectic about the ramifications in 1905 London, Edward is cut to the core on how to proceed. If he announces the matter to his clientele, the result will be disgrace and bankruptcy for the entire family, including his brothers the pompous one, Major Booth Voysey (C. J. Wilson), the practical one, Trenchard Voysey (Christopher Duva), and the sensitive one, Hugh Voysey (Todd Weeks), as well as sisters Honor (Rachel Black) and Ethel (Tricia Paoluccio). Further, both Edward and Mr. Voysey would likely end up in prison. Frozen by the decision, Edward begins working to restore the missing money, but within a year, Mr. Voysey has died. It is then he learns that there were many others, including his own mother (Judith Roberts), who knew of the ongoing fraud. One skill Mr. Voysey, and now Edward, had mastered was never missing scheduled distribution payments to the beneficiaries of each trust.

I heard an interview with Mr. Stuhlbarg about the play, who commented that after reading the original, there were large sections left untouched by Mr. Mamet in his adaptation. I'm not sure whose work it is on which I'll be commenting. There's somewhat of a "Chekhovian" feel to the premise of the play - once rich folks still acting so and able to take desparate measures to keep their status quo. What seems key to making such a situation compelling is that one cares about the characters either in spite of, or because of their flaws. This was only partly successful for me, and I think more as a result of the performances than of the writing.

Mr. Stuhlbarg's Edward is so overwhelmed in the first few scenes that he can hardly speak without betraying his own feelings of misery and woe over his recent discovery. He does, however, keep Edward at somewhat of a whimper, even when the company secretary, Mr. Peacey (Steven Goldstein) asks for his annual "bonus" after helping Edward begin the recovery of their clients' assets the year after Mr. Voysey has died. Once might have expected Edward to show more strength, and even though he still refuses the request, it is the potential freeing of the burden by exposure that lets him go head to head with Mr. Peacey. Mr. Stuhlbarg remains torn over the higher concept of the rich protecting themselves and each other to maintain one's station in life, as it were. During a conversation with brother Hugh, the artist, Edward says "...the poor are always with us." Hugh replies "But does it follow that we must betray the rich?" Edward's fiancee Alice (Samantha Soule) also factors in with her own situation. Having inherited her own money which she also manages herself (making her quite modern for the era) she shares what she was told upon taking control of it, "You did nothing to earn it. Don't be surprised if someone tries to take it away from you."

The rest of the cast were solid. Notable was Mr. Weaver as the elder Mr. Voysey, regal and charming, even when confronted with his own misdeeds. Ms. Roberts as Mrs. Voysey recalled a certain Julie Christie quality for me. Ms. Soule as Edward's fiancee Alice was warm and loving. Ms. Paoluccio and Ms. Black as sisters Ethel and Honor, respectively held true to their contrasts - Ethel, somewhat selfish and immature - Honor, silent and above reproach.

Director David Warren does his best to keep the action moving, but it's still an Edwardian era drawing room melodrama. I found the occasional opening of scenes with singing a bit forced for the proceedings. Derek McLane remains a master of sets, well supported by Jeff Croiter's lighting. I had a few questions on some of the men's dinner wear choices in the first act - perhaps Gregory Gale's research time was limited to the gorgeous black jet-beaded gown worn by Ms. Roberts in the first act. Much of the rest seemed like an afterthought.

(Starwatch: Estelle Parsons in the audience at this performance)