Word: mamet
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...emotional territory of Simpatico, the most recent work by Pulitzer Prize-winning playwright Sam Shepard, is something familiar to Kellerman. His production last year of David Mamet's American Buffalo in the Loeb Ex explored the same realm of underworld deceit and betrayal, the same search for loyalty and friendship that marks this play. That is not to say Simpatico is a large scale retreading of the same dramatic ground Kellerman mapped so clearly last year. Sam Shepard is not David Mamet. He isn't able to maintain the same level of unshaking intensity that Mamet can create...
...when he's at his best, Shepard can pull tricks of which Mamet is incapable. His characters, unlike Mamet's tough-talkers, are willing to show their own vulnerability. They are desperate to do so in some cases. And this is where Kellerman's production shines. Kellerman has an eye for portraying human frailty, for capturing the looks and muffled breaths that mark us at our weakest moments. What is most amazing is that he can make these looks and breaths seem as powerful in the 500 seat mainstage theater as they did in the infinitely smaller...
...rogues ranging from the unruly Dancing Pants to the unsanitary Sarah Cynthia Sylvia Stout (who "would not take the garbage out"). He also wrote the lyrics to several hits, including Cover of "Rolling Stone" and A Boy Named Sue, and nine plays, often working in conjunction with David Mamet. DIED. MEG GREENFIELD, 68, longtime editor of the Washington Post editorial page and Newsweek columnist; of cancer; in Washington (see EULOGY...
...true strength of Kellerman's production, of course, lies in the sheer power of his cast. As Teach, Don and Bobby, Mamet's trilogy of lowlifes, James Carmichael '00, Jonah St. Newmouth and Jonathan Steinberger '00 command the audience's unblinking attention for two straight hours with ease. It's nearly impossible to rank their performances in any meaningful sense. Steinberger presents an almost scarily realistic portrait of Bobby, Mamet's junkie with a heart of gold, while Carmichael brilliantly portrays the overly energetic and manipulative Teach. St. Newmouth as Don plays the calm anchor for the group who will...
Kellerman's actors play off of each other with such skill that it's useless to think of them as anything but an ensemble. And this is exactly what Mamet's piece calls for. American Buffalo is not so much about what happens to these characters as it is about how they interact, how they yell and fight and make up, how they desperately need each other because they have nothing else in the world. His ability to portray this sense of need, this soft underside to Mamet's otherwise brutal play, is Kellerman's greatest strength as the director...