Race by David Mamet, Hampstead Theatre, 31 May 2013

Not David Mamet’s best play, but even modest Mamet on the subject of Race provides plenty tension and interesting drama. We needed to suspend belief a little too much on this one – as is the way with lesser Mamet.

Click here for Hampstead Theatre’s resource on this play/production.

Below is a backstage vid for this production:

The critics were less forgiving than we were for this short play – click here for a link to a search term that finds the reviews.

Still, excellent cast, well directed by Terry Johnson. It was an enjoyable evening at the theatre.

House Of Games by David Mamet, Jonathan Katz & Richard Bean, Almeida Theatre, 11 September 2010

We are big fans of Mamet and also big fans of the Almeida, so Janie and I were really looking forward to this one.

We indeed got a fabulous production, wonderfully well acted, directed and produced. But we were less sure about the piece itself.

Of course with Mamet you get more twists and turns than a country lane. Of course you get even riper language than an expletive-filled debate at our place after Janie and I have both had a bad day. And of course, with Richard Bean in the driving seat for the play script itself, you get some lovely stage devices and coups de theatre.

But the piece itself, based on a 1980’s Mamet film script, seemed surprisingly slight and it was unusually easy to predict the twists. I suspect the film worked better, but I haven’t seen it.

Still, with Alleyn’s School alum Nancy Carroll heading up a pretty impressive cast, plus Django Bates providing the atmospheric jazz music, it was an entertaining evening to be sure. Janie enjoyed it thoroughly, but also claimed she let the plot wash over her.

Here is a link to the Almeida resource on the play/production. 

Sceptics might not trust the above resource to link to all the reviews – quite rightly, as the reviews were mixed. Here’s a helpful search term for your own deep dive – click here.

If you’d like to see the trailer, click below – it’s pretty cool:

The Old Neighbourhood by David Mamet, Royal Court Theatre at the Duke Of York’s Theatre, 11 July 1998

All I wrote in my log was:

No interval.

That suggests that we didn’t get a great deal out of this one, unusually for Mamet. Possibly we just felt that we’d seen a lot of material like this before.

Was it three short plays or one play with three somewhat disconnected scene?. I wrote down

The Disappearance of the Jews, Jolly and Deeny.

Splendid cast: Linal Haft, Colin Stinton, Zoe Wanamaker, Vincent Marzello and Diana Quick, directed by Patrick Marber.

Nicholas de Jongh really liked it:

de Jongh, Standard, Mametde Jongh, Standard, Mamet 24 Jun 1998, Wed Evening Standard (London, Greater London, England) Newspapers.com

Our friend, Michael Billington also liked it a lot:

Billington Guardian MametBillington Guardian Mamet 24 Jun 1998, Wed The Guardian (London, Greater London, England) Newspapers.com

Charles Spencer in the Telegraph was less sure:

Spencer Telegraph MametSpencer Telegraph Mamet 25 Jun 1998, Thu The Daily Telegraph (London, Greater London, England) Newspapers.com

Kate Kellaway’s interview with Patrick Marber is very interesting:

Kellaway Observer Marber InterviewKellaway Observer Marber Interview 14 Jun 1998, Sun The Observer (London, Greater London, England) Newspapers.com

Reading these reviews and the interview, I think I should, 25 years later, re-read the play(s) and see what I think of them now.

Oleanna by David Mamet, Royal Court Theatre, 24 July 1993

These days (he says, writing more than 25 years later), I do most of the running with regard to booking theatre. But back then, Janie was more proactive.

There are notes in her diary from weeks before, working out when this was going to open and when we might be available. Then, for the day itself (as one might now find in my diary) notes on exactly which seats she’d booked (Row J) and how long the play might be (8:00 to 10:10).

For sure I would have been a willing participant in seeing the latest Mamet – I had been a bit of a Mamet fan for years by 1993. David Suchet and Lia Williams? yes please. Harold Pinter directing? just tell me where I need to go and when. Here is a link to the Theatricalia entry.

I remember it being a very good production of an extremely powerful play. Here is a link to the Wikipedia entry on the play.

It was in fact a very controversial play and Mamet had written more than one ending for it. There was much debate in the press.

Below is Michael Billington’s review:

Billington's Review Of OleannaBillington’s Review Of Oleanna Fri, Jul 2, 1993 – 37 · The Guardian (London, Greater London, England) · Newspapers.com

Here are links to The Guardian with some fascinating opinions published the following week:

Oleanna OpinionsOleanna Opinions Wed, Jul 7, 1993 – 20 · The Guardian (London, Greater London, England) · Newspapers.com

<ore Oleanna Opinions<ore Oleanna Opinions Wed, Jul 7, 1993 – 21 · The Guardian (London, Greater London, England) · Newspapers.com

Finally, here is Michael Coveney’s review.

Michael Coveney On OleannaMichael Coveney On Oleanna Sun, Jul 4, 1993 – 56 · The Observer (London, Greater London, England) · Newspapers.com

This was a stunning, unforgettable night at the theatre; Janie and I are privileged to have seen this production.

A Life In The Theatre by David Mamet, Theatre Royal Haymarket, 9 December 1989

This was my last visit to the theatre in the 1980s.

I don’t remember much about it. Even when I wrote up my notes, while the memory must have been a bit fresher (more than 30 years have now passed; just a few years would have passed when I first logged this production).

Bobbie was with me that night, but I doubt if she remembers it much either.

I was fresh back from the USA and had by chance seen some Mamet while there…

…so A Life In The Theatre probably seemed comparatively tame Mamet. Indeed, the one thing I do recall about it was feeling that it was tame Mamet.

One reason I wanted to see this production was the presence of Samuel West in the cast. I knew young Sam from school. He had been polite enough to come with his parents to watch me in the school play, Twelfth Night. more than 10 years earlier…

…so I felt I ought to return the favour. After all, perhaps his nascent career could do with some assistance. As it has transpired, Sam’s subsequent, extremely successful “life in the theatre” did not need my help. I have seen him on stage a couple of times since.

Denholm Elliot was also a draw to this production.

Fortunately, despite my poor memory of the piece and production, there are well-crafted reviews to be had which confirm that it was a very good production.

Michael Billington gave young Sam a good review as “an admirable foil” for Denham Elliot’s character. Would Billington have praised my “conviction and self assurance” if he had seen Twelfth Night in 1978? Mercifully, we’ll never know. But I did get to know Michael Billington quite well over the years, through theatre and cricket.

Billington On A Life In The TheatreBillington On A Life In The Theatre Thu, Nov 2, 1989 – 30 · The Guardian (London, Greater London, England) · Newspapers.com

Michael Ratcliffe’s tepid review begins at the bottom of the previous column with the words, “David Mamet’s A Life In The”…and then goes on:

Ratcliffe on A Life In the TheatreRatcliffe on A Life In the Theatre Sun, Nov 5, 1989 – 50 · The Observer (London, Greater London, England) · Newspapers.com

Oh Hell!: The Devil And Billy Markham by Shel Silverstein, Billy Gould In Hell by David Mamet, Lincoln Center, Mitzi E. Newhouse Theater, 26 November 1989

It’s very clear from my log that I went to the theatre (or, as they say in the USA, theater) on the Sunday. Not something that can be done in London much – most theatres in London close on a Sunday. I think I went to a matinee or perhaps they just do the one late afternoon/early evening showing on a Sunday. I think this because I have a feeling that I met up with someone for dinner that evening as well; I think a second evening with Jane Lewis and I think it was the Louisiana-style restaurant in Alphabet City mentioned in Part One of my New York story…

…which rather begs the question, where and what did Jane and I eat on the first evening? Something mid-town and reasonably trendy at the time, I suspect.

But returning to the Lincoln Centre production…

…the theatrical production I chose was a good one. A double bill of short plays; one by Shel Silverstein, The Devil And Billy Markham, which was a musical monolgue performed by Dennis Locorriere of Dr Hook fame.

Locorriere was a superb performer. The Devil And Billy Markham had started life as a Shel Silverstein story in Playboy, which Silverstein adapted as a monolgue for this production.

Below is a video of Dennis Locorriere performing another Shel Silverstein piece, Carry Me, Carrie:

Below is a video of a subsequent performance of The Devil And Billy Markham by an unknown (to me) performer, doing it rather well, but not quite as captivating as Locorriere:

The second play was a David Mamet play, Bobby Gould In Hell, perhaps not Mamet’s best or most profound work but it was interesting and enjoyable. The character Bobby Gould originally appeared in Speed The Plow, which I had seen earlier that year in London:

The conceit of this “sequel” play is that Bobby Gould has gone to hell and is being interrogated.

Gregory Mosher, the director of both pieces, is a doyen of both the Lincoln Center and David Mamet’s work, so I was certainly in the hands of the right chap for this visit.

Treat Williams, Steven Goldstein, Felicity Huffman and William H Macy were a very sound headlining cast for the Bobby Gould piece – the latter two it seems went on to become a celebrity couple some years after this production. Who knew?

Ironically, I learn that Felicity Huffman has recently (he says writing in the autumn of 2019) spent time in prison after admitting involvement in part of a college admissions bribery scandal this year, in respect of SAT scores for her and Macy’s daughter. A more Mamet-like, Speed The Plow-like true story I find hard to envisage.

But back in 1989, I remember very much liking both short plays and indeed enjoying the whole experience of seeing some theatre in New York.

I also liked living just a few blocks away from The Lincoln Center – W70th between Broadway and Columbus proved to be a decidedly suitable address for me, even if it was just for a week or so.

Here’s a review from the Central new Jersey Home News:

Central New Jersey Home NewsCentral New Jersey Home News Thu, Dec 7, 1989 – 48 · The Central New Jersey Home News (New Brunswick, New Jersey) · Newspapers.com

Here’s a review from The Record in hackensack:

The Record HackensackThe Record Hackensack Wed, Nov 29, 1989 – 46 · The Record (Hackensack, New Jersey) · Newspapers.com

Speed-the-Plow by David Mamet, Lyttelton Theatre, 4 March 1989

I liked this play/production a lot. I don’t think I’d seen Alfred Molina before and was very taken with his acting. Colin Stinton was excellent too, as was Rebecca Pidgeon.

It’s a play about the movie business. As is often the case with Mamet plays about the world of work, Mamet captures the pressure-cooker atmosphere of the work place extremely well – an aspect that is often lacking in plays – perhaps because playwrights haven’t spent much of their lives in the actual hard-nosed world of work.

Theatricalia has an entry for this one – click here.

Wikipedia explains the play’s synopsis and it’s run history. Madonna played the female lead in the original Broadway production just a few months before this National production – who knew?

There are some #MeToo elements to this play that, obviously, weren’t perceived as #MeToo at the time because #MeToo hadn’t been invented – although movie business males belittling movie business females had been invented.

Below is Michael Ratcliffe’s Observer review:

Ratcliffe on PlowRatcliffe on Plow Sun, Jan 29, 1989 – 45 · The Observer (London, Greater London, England) · Newspapers.com

Below is Michael Billington’s Guardian review:

Billington on PlowBillington on Plow Thu, Jan 26, 1989 – 24 · The Guardian (London, Greater London, England) · Newspapers.com

Anyway, point is, this was an excellent Saturday evening of theatre with Bobbie…

…by which I mean Bobbie Scully, not Bobby Gould, the lead character in the play…

…well, actually an excellent Saturday evening with both Bobbies, now I come to think of it.