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.