That’s not to say it’s a complete misfire. But he keeps one ice-cool eye on the prize at all times. All rights reserved. Thursday November 9 2017. Here it’s inhabited by Christian Slater, who makes this hyped-up Chicago real estate agent a boyish seducer — most sinister when he’s most smooth. While this is a cast of experience and quality, there are issues with some of the acting which appears forced at times and renders some of the characters more caricature than fully-formed forces of nature. Runs until 13 April 2019 | Image: Marc Brenner, This review was originally written for THE REVIEWS HUB. Well, the producers shouldn't have worried – much. About Our Ads Mamet’s play may not have the tragic weight of Arthur Miller’s Death of a Salesman, to which it is inevitably compared. Shamos (Clybourne Park) finds painful nuances in James Lingk, who returns to the office to renege on the deal he was suckered into by Ricky. But from the moment Shelly bursts through the office door in the second act, bouncing about and crowing with cocky self-congratulation over having closed a big-money sale, Pacino is all mannerism. The agility of the writing keeps us attuned to every nuance of their behavior, be it pathetic, scared, manipulative or despicably dishonest. I apologize for the length, I just had a lot to say. Al Pacino is the headliner and principal draw, even if he's the most questionable element in this sluggish revival of David Mamet's best-known play. 10:12 PM PST 12/8/2012 That said, the drama often seems to be happening elsewhere, just beyond the proscenium, and not among the actors on stage, however individually adept. All rights reserved. Too bad its nasty punch is a tad soft here. Lasting just 35 minutes and chased by an interval and dramatic set change, the first half almost functions as a prequel to the carnage of the second. With its fusillade exchanges and fat-free set-up, it remains a model of dramatic economy. Déjà vu! Christian Slater ‘has exactly the measure of Ricky Roma’ in Glengarry Glen Ross by David Mamet at the Playhouse theatre, London. But it’s easy to forget how good he used to be. Sullivan proved an excellent director of Pacino in their last collaboration on The Merchant of Venice, finding fragility in the actor, which is not often among his keynotes. Mamet’s characters now look even more like small-time losers when weighed against the rampant culture of corporate criminality and pitiless downsizing that has blossomed since they were created. PHOTOS: Broadway Musicals That Have Sung Their Way to the Big Screen. Glengarry Glen Ross Al Pacino - P 2012 Al Pacino is the headliner and principal draw, even if he's the most questionable element in this sluggish revival of David Mamet's best-known play. While the underlying whiff of desperation could be stronger, the performance is effective enough. Terms of Use | By: The production packs some heat in the performances of Bobby Cannavale and John C. McGinley, along with assured work from David Harbour, Richard Schiff, Jeremy Shamos and Murphy Guyer. But there are flashes of nastiness, and he leaves us with the sense that this man has hollowed himself out utterly in the ephemeral pursuit of sales. Mamet’s play takes its time. The video is 2.35:1 anamorphic. That maxim of salesmanship seems positively caustic when projected on to the curtain during the Broadway revival of David Mamet's Glengarry Glen Ross, starring Al … Yet Mamet's dialogue is still thrilling. Slater, seen in London in One Flew Over the Cuckoo’s Nest and Swimming With Sharks, has exactly the measure of Roma. So what went wrong? Sitemap | © 2020 The Hollywood Reporter ‘Glengarry Glen Ross’, from 1983, remains his most famous play, and deservedly so: it’s a startlingly short, painfully sharp, excavation of the desperation that lies under the alpha male ego. With his Guido-style slicked hair, crisp shirts, cuff links and pinky ring, he’s the epitome of vulgar success. Those glory days never in fact existed, and instead we’re left with an impression of small men struggling beneath the weight of their delusions. Worth watching even if only to celebrate a culture and way of life best left behind. How well does David Mamet’s play, 34 years after its world premiere at the National’s Cottesloe, stand up? By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions. A warning to die hard fans of the film: Alec Baldwin’s famously sweary ‘always be closing’ speech was added for the 1992 movie and has never been part of the play, which is now semi-notorious for disappointing audiences expecting to hear it. TWITTER But his spin on the role makes the play’s ending hollow, diminishing its doleful sting. The short first half of Sam Yates’s sharp revival consists of three nicely observed and thoroughly awkward tête-à-têtes in a plushly furnished, empty Chinese restaurant. Yet, without moralising or peddling messages, Mamet also suggests there is a perverse heroism about these tainted Galahads who at least go out into the field while the office manager controls their destinies from behind a desk. Glengarry Glen Ross Play - - Rated 4.9 based on 31 Reviews "A play whose dark satire is brilliantly performed by every member of its stellar cast. Venue: Gerald Schoenfeld Theatre, New York (runs through Jan. 20), Cast: Al Pacino, Bobby Cannavale, David Harbour, Richard Schiff, John C. McGinley, Jeremy Shamos, Murphy Guyer, Presented by Jeffrey Richards, Jerry Frankel, Jam Theatricals, Luigi & Rose Caiola, Gutterman Chernoff, Universal Pictures Stage Productions, Amy & Phil Mickelson, Patty Baker, Mark S. Golub & David S. Golub, Ken Greiner, Meg Herman, Kathleen K. Johnson, Stephanie P. McClelland, Harvey Weinstein, James Fuld Jr./Kirmser Ponturo Fund, Kit Seidel/Myla Lerner, Will Trice, GFour Productions, in association with RPMedia Company. There are no means, moral or otherwise, left unutilised to secure a sale, be it by lying, cheating or stealing, in David Mamet’s Olivier, Tony and Pulitzer Prize-winning Glengarry Glen Ross. Set over two days in the life of four Chicago salesmen and their quest to be top of the office leader board: Shelly Levene (Mark Benton), once top dog, now down on his luck and scrabbling for every potential lead from his younger superior; Ricky Roma (Nigel Harman) the man of the moment and front-runner to win the star prize of a Cadillac; George Aaronow (Wil Johnson), veteran salesman worn out by the work life he has to lead and veritable Pit Bull Dave Moss (Denis Conway) a seething ball of rage and fury. Time Out is a registered trademark of Time Out Digital Limited. “I mean are you actually talking about this?” asks Aaronow of the projected heist, to which Moss cagily replies: “We’re just speaking about it.” Kris Marshall, barely recognisable as the flat-haired, bespectacled manager, also exudes the caution of a man who has never been exposed to the dubious artistry of salesmanship. Sorry, your blog cannot share posts by email. Lo and behold, the chap sat next to us expressed his dismay as it its omission as we filed out – one more disappointed middle-aged man in this study in their pathology. He implicitly condemns a system that turns the salesmen into con artists who feel their virility is under threat: “I got my balls back,” one of them loudly trumpets after securing a contract. That spot initially appears reserved for Schiff’s George Aaronow, a miserable schlub who also gets his chance to bark. Keeping pace with Cannavale is McGinley, absent from Broadway since 1985. US playwright David Mamet has devoted much of his recent career to being a grade-A douchebag (his most recent wheeze was threatening to fine theatres who held post-show discussions after his plays). In the second, cantankerous old hand Dave (Robert Glenister) tries to recruit fellow old-timer George (Don Warrington) to help him break into the office.
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