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Vol. 3

Dangerous Corners
Mamet directs J.B. Priestly's play. In this play of psychological intrigue, Mamet strips Priestley's wordy text to its bare essentials, creating a sparseness that actually heightens the original's dramatic tension and characters' motivations.
Glengarry Glen Ross
Indianapolis Phoenix Theatre's production isn't quite mean enough. Mamet's play creates a society of animal predators who are desperate to make a kill, but who will, under pressure, ultimately prey on one another. Unless one feels the animality of the salesmen, unless there is a sense that among these men the law of the jungle prevails, the amalgam of bestiality, comedy, pathos, and poetic justice within the final exchange between the trapped Levene and the suddenly preying Williamson will be lost.
While many production companies make the mistake of using Oleanna as a forum solely for the discussion of sexual harassment, the Detroit Repertory Theatre chose to avoid even a program note in their playbill on the meaning or issues explored in the play. Their performance did not provoke split in opinion down gender lines as has been the case with their productions.
American Buffalo
American Buffalo opened at the Boston Film Festival on 8 September in advance of its screening in Pawtucket, Rhode Island, the home of director Michael Corrente where the film was shot in the summer of 1995. Both the Pawtucket screening and the New York premiere on 12 September were billed as fundraising events for distribution.
Accents aside, the most obvious difference between this and the London production lay in the speed of delivery. Pinter had slowed the play to an unnatural degree, which allowed for a more nuanced exploration of the relationship, but failed to capture the evidently explosive quality of earlier American performances. In comparison, Theatr Clwyd's production was a rollercoaster ride, which, when allied with John's youthfulness, again tended to emphasise the sexuality in the encounter.
No One Will Be Immune: Five Pieces for the Theatre
Throughout “No One Will Be Immune” (as well as throughout the other four pieces), Mamet drives home the point that (an) A tries to be as specific as he can about what he knows while (a) B interprets what A says and then attempts to fill in the blanks. This process of filling in the blanks will result in "an other story," as we are warned earlier by A. And so, A's "plan" becomes a "fantasy" under B's questioning.
The Cryptogram
Directed by Scott Zigler, The Cryptogram ran for three weeks during spring 1996 on the Neuhaus Arena Stage, a small theatre in the round generally used by the Alley for plays with few characters and a simple set design.
President's Message
Leslie Kane announce "Mamet at 50" Conference and other plans for the David Mamet Society.
The Cryptogram
The Cryptogram is one of Mamet's lesser efforts, interesting mostly for that part of the play that describes a boy's experience with betrayal. (Steppenwolf's Newsletter tied John's world directly to his creator's by quoting John Lahr's reference to him as "Mamet's surrogate."
Bibliography 1995-1996
Listing of writings by David Mamet, reviews of his works, plays, films, and scholarship written about his work.
President's Message
Leslie Kane announce "Mamet at 50" Conference and other plans for the David Mamet Society.
New and Forthcoming
This is a survey of the year's upcoming productions of Mamet's plays, his directing, writing, and work in films.
Mamet Bashing at the MLA
Papers by Wertheim, Burkman, and Blumberg are reviewed for their view of the playwright in relation to the sentiments of the characters.