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Always stretching his creative boundaries, and ever topical, Mr. Mamet wrote the very controversial play "Oleanna" in 1992, in response to the Clarence Thomas hearings. It's subtitle, "A Power Play," is an understatement. Mamet explores the grey areas (and there are many of them) in the interchanges between an upwardly- mobile male professor and the seemingly neurotic female student who will press sexual harassment charges against him. This short, three act play is filled with twists and surprises, and at the end of each of the short acts, left the audience animatedly debating what they had just seen. Based on this script, some have called Mamet a misogynist, while others believe he didn't take the situation far enough. Whatever people think, though, this is a great play that accomplishes what it sets out to do: create a forum for discussion. Is it weighted toward one side or the other? That is for the audience to decide.
Actor's Theatre of Phoenix' production of this powerful piece starts out a bit choppy. That may not hard to believe, though, since this is David Mamet, who's staccatto dialogue and precise pauses can give fits to even the best of actors. In many ways, Mamet is much like Harold Pinter; a hyper-realist. Subsequently when it's even the slightest bit off, the delivery sounds odd. Matthew Weiner's direction obviously tries to present this piece as realistically as possible, though the all-important first act, which is the set up for the entire play, seemed a bit off. The actors, Kirk Jackson as the preoccupied prof, and Melinda Thomas as the jumpy student, hit the first act dialogue in a syncopated way that made the piece seem more stylized than it calls for. By the second act, though, they seemed to have found the rythm, and played the rest of the conflict in a wonderful way.
After the first act's hesitation, these actors did a great job of presenting the twisting situation. Mr. Jackson seemed a bit easier in his role of the self-obsorbed educator, stumbling unwittingly into every trap that the laws regarding sexual harassment have to offer. Mr. Jackson's portrayal of the professors grand pronouncements and haughty attitude worked well to make him the perfect candidate for just such a charge. Hesitant at first, though smoother throughout the evening, Ms. Thomas' maneuverings were interesting and she did well in revealing the many facets of her characters' personality.
Gage Williams' set and Paul Black's lighting were sufficiently stark and grim. The barren office bore the resemblance of a boxing ring lit by fluorescents for the two parties to slug out their differing ideologies.
Despite the somewhat awkward first act, this play is an interesting look at the weapons and casulaties of the ever-present war between the sexes.
Production Details:
Hearberger Theatre, Phoenix 252-8497
March 15-March 31, 1996
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