'Non-Liberal' Mamet In For Big Year on Broadway

“I took the liberal view for many decades, but I believe I have changed my mind.” – David Mamet

As I discussed in my very first post here at Big Hollywood, many in the theatre world were surprised to read David Mamet’s amazing article, “Why I am No Longer A Brain-Dead Liberal” in the Village Voice. In my post, I used the play “Oleanna” as an example of a conservative lean that I recognized in Mamet’s work when it premiered off-Broadway in 1992. I concluded with a couple of questions:

The real test will be when Mamet offers a new work for public consumption. Will it be viewed through a new spectrum? Will critics recognize Mamet’s un-deniable brilliance? Or, will a hidden meaning be searched for in every scene and in every rapid-fire dialogue sequence?

It turns out we won’t have to wait long for an answer. Our current Broadway season will feature two major productions from Mr. Mamet, and both deal with the most controversial political issues of our time: Race and Gender.

This week, the Mark Taper Forum’s revival of the aforementioned “Oleanna” will open on Broadway. “Oleanna” was universally hailed when presented in the wake of the Clarence Thomas hearings. Many of the critics praised Mamet for being so even-handed in its presentation that it was hard for people to really know if the accused man was truly guilty of sexual harassment. Now that Mamet has “outed” himself, will they still see “Oleanna” and Mamet as “even-handed?”

Later this winter will see the opening of the brilliantly and economically titled: “Race” directed by Mamet, himself. Precious few details have been leaked about the plot other than a quick description in Mr. Mamet’s recent, must-read NY Times op-ed:

In my play a firm made up of three lawyers, two black and one white, is offered the chance to defend a white man charged with a crime against a black young woman. It is a play about lies.

How will “Race” be received in the Era of Obama with the knowledge that Mamet is no longer a “brain-dead liberal”?

I plan to use my space here at Big Hollywood to let you know. I will be providing a run-down of the critics’ reactions to these plays and any direct, personal attacks on Mr. Mamet and/or his politics.

In the true tradition of Broadway, I can provide you a “preview.” The Atlantic Theatre Company just opened two Mamet one-acts under the single title: “Two Unrelated Plays” by David Mamet. There is a very useful website called “Critic-O-Meter” which compiles all of the reviews for plays that open in New York. I use the site often as a resource. The proprietors of the site provide a quick synopsis of the reviews before linking to each, individual one. In its synopsis of the Mamet one-acts, the site provided this helpful information:

Despite writing some bona-fide classics, David Mamet hasn’t written a good play since The Cryptogram, devoting most of his time to creating a third-rate 24, excoriating Jews who aren’t into ethnic cleansing as self-hating and– in his essays in the Times and the Voice– doing his borscht-belt imitation of Ann Coulter’s schtick. Ah well, he has a banner season ahead of him anyway, including a revival of Oleanna (the first step in his artistic downfall) and a new play called Race, both of which open on Broadway this season.

Mr. Mamet: Welcome to the Vast Right-Wing Conspiracy.