fall arts preview
David Mamet, America’s favorite fucking playwright, is coming to the small fucking screen. It’s going to be…it’s going to be…no, let me finish…it’s going to be a seven-part mini-series about the seven deadly sins in the Bible, and it’s going to be totally fucked, is what it’s going to be.
Opens September 10
Longtime friends, colleagues and admirers of Gore Vidal gathered in the currently patriotically decorated Gerald Schoenfeld Theatre—where Mr. Vidal’s 1960 play The Best Man is playing through September 9—on Thursday afternoon to pay their respects to the recently departed writer. The mood was serious yet not solemn as many who were likely humbled to be counted among Mr. Vidal’s contemporaries took the stage to recount memories and share anecdotes from their own experiences with the man.
Reading selections from his own eulogy for Mr. Vidal and praising his friend’s great wit, Dick Cavett recounted many of Mr. Vidal’s most celebrated one-liners. His favorite, he told the audience: “Success is not enough. One’s friends must fail.”
“Whenever my friend succeeds, I die a little,” was another Vidal aphorism recalled to much laughter, and, reading a line from a message prepared by David Mamet for the memorial, Liz Smith decreed Mr. Vidal “smart enough to see through the self-interest of everyone except himself.” Yet none of this seemed to remotely deter the hordes of successful friends who seemed to be endlessly seeking his advice.
In addition to an awesome cast, including Al Pacino in a different role from the one he played in the cinematic adaptation, the new Broadway production of Glengarry Glen Ross announced today that its latest salesman on the team would be none other than John C. McGinnley…better known to most of us as Dr. Cox from Scrubs.
A lifetime spent in the theater is short, episodic and filled with pontificating blowhards, missed cues and bad parts in terrible plays. It is lonely, it is arbitrary, it is occasionally terrifying–you, alone on that stage, struggling to play a role as props break and cues are missed. These are the suggestions of David Mamet, Read More
It’s been an “unusually active but brutal” season on Broadway, Bloomberg reports.
Of the fall’s many anticipated productions, only A Steady Rain (with Hugh Jackman and Daniel Craig), appears to have made much money. Among the casualties: the extensively analyzed Simon revival, and at least half of the Read More
David Mamet’s new play is here! The play that was to be Mamet, back in classic Mamet form! With a plot so incendiary that nothing about it could be revealed before performances started! With its poster and Playbill cover featuring only a simple, sexy shot of a shapely black woman’s legs in a slinky, red-sequined Read More
The first reviews of David Mamet’s latest play—Race, which he also directed—are in. Despite (because of?) plenty of anticipation, the critics seem to agree that it’s a disappointing effort.
For one thing, Mamet’s self-conscious shocking posture has grown predictable. Writes Elisabeth Vincentelli in the Post:
Four-letter words are to Mamet what a Read More
I was a college freshman when the movie of Oleanna opened in late 1994, and already it seemed, to undergraduate eyes, a bit dated.
Oleanna, David Mamet’s tense two-hander about student-professor gender politics and power dynamics, was arriving in theaters only three years after Anita Hill testified against Clarence Thomas’ nomination to the Supreme Court. Read More
"[W]hen you see those transcripts, it’s like out of an Oliver Stone movie. It’s like somebody wrote this guy into the plot of a movie…"—Dan Barrett, quoted by Bob Seidenberg, The Evanston Review.
"I have never even seen or heard anything like this. I don’t even know if a Hollywood movie producer could Read More