Word: mametã
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Dates: during 2001-2001
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...impulse to try something new with this play is understandable. Oleanna is Mamet??€™s most topical play—it arose on the heels of the Clarence Thomas confirmation hearings—and it often seems less sharp than some of his other works. Gabriele’s interpretation has the benefit of making the female student less a victim than she seems in most productions, but it is at the expense of making her largely unsympathetic and rendering the professor with virtually no variation throughout the evening...
...even with Hackman’s nuanced and convincing acting, there is never a sense of genuine emotion. All these conflicts serve as mere tools that keep the formulaic plot going and allow Mamet to serve up a barrage of his distinctive but often pointless and perfunctory quips. Though Mamet??€™s dialogue does provide nice pacing and a unique touch to the film, it often distracts the actors and makes for an artificial atmosphere...
...depth of his nostalgia recall Borscht Belt, the razor-sharp timing and perfect phrasing are pure Mamet. Jay’s skills at handling such material as well as their presence in the show attest both to the basis for the two men’s friendship and to Mamet??€™s directorial influence on the evening...
Pidgeon was next to take the stage. To point out that Pidgeon is mostly known for interpretations of her husband’s (Mamet??€™s) work would be to short-change her charm, sense of humor and musical ability (which is displayed on her fourth CD, the recently released Tangerine). Needless to say, with Pidgeon’s film career so active, it has become difficult for theater audiences to see her back on the stage, especially in the Boston area. As one theatergoer commented, it would be worth it to watch her read the phone book...