I spent this past Saturday with a group of bitter, middle aged men who drank and swore copiously. The entire conversation entailed lamenting how much they couldn’t stand their jobs, wanted to get even with their bosses and get rich in the process. Before readers get the impression I didn’t spend this weekend any differently than usual, I attended a theatrical performance. I had the pleasure of watching the Burlington County Footlighters present David Mamet’s Pulitzer Prize winning drama, Glengarry Glen Ross. What a job they did!
Robert Hawkey did an exceptional job animating the character of Richard Roma; a role iconized by Al Pacino in the movie version. Mr. Hawkey made the personality entirely his own. When he first appeared on stage gesticulating in his gold suit, he scared me. I sat in the front row and worried that by the end of the play I’d be walking out the door owning a hundred acre time share in Florida. It takes great faith in one’s histrionic capabilities to take on a character that conniving and, yet, convincing, but he did so exceptionally well. According to the playbill, this run of Glengarry Glen Ross is his first theatrical performance in seven years. Upon discovering that, I respected him even more. Either he possessed natural confidence performing in front of an audience, or he’s so good at his craft he could act like he did. Either way, bravo.
I also enjoyed Breen Rourke’s rendition of Shelly “The Machine” Levine. I’ve always thought that character a hybrid of serious pathetic loser Willy Loman and comical pathetic loser Al Bundy: disgraceful and, at the same time, comical. Mr. Rourke displayed these dual characteristics throughout his performance. His emphatic pleading with Mr. Williamson (played by Kevin Esmond) for “prime” leads in the opening scene led me to empathize with the character. Moments into his spiel, however, I got tired of listening to his whining. I felt sorry for him, but wished he would go away. Rourke’s exceptional acting chops made me forget the later point shortly after.
In essence, Roma served as the archetype of the consummate winner, while “The Machine” embodied the pitiful loser. Hawkey’s and Breen’s superb interaction in the final scene really concretized this dichotomy. I give both actors credit for executing this so well.
Dave Moss (played by Daniel Brothers) and George Aaranow (Alan Krier) worked as great contrasts, too. These thespians brought out the subtleties in Mamet’s text through their interface. I’ve read the play, but didn’t catch the semi-humorous subtext of the conversation. Brothers’ performance of the devious schemer to Krier’s unwitting dupe allowed me to understand the underlying dynamics of the drama much better.
For those unfamiliar with Mamet’s writing, young children should not accompany parents to this performance. There’s a lot of freaking bad language: no bullsnot. While many will no doubt enjoy witnessing the characters swear at and berate their boss (kudos to Kevin Esmond for taking it all in stride), I’d recommend doing so in the company of a mature audience.
The stage crew did a great job with the set design. They converted an elegant Chinese Restaurant set into a trashed real estate office. I applaud how they managed to get it done during a short 15 minute intermission.
I thoroughly enjoyed the Burlington County Footlighters presentation of Glengarry Glen Ross. Intense tragedy populated with delicate interjections of dark humor, and foul language filled the evening. I just hope I don’t run into the cast the next time I’m in the market for real estate. If they can sell as well as they can act, they just might set me back a couple hundred grand for swamp side acreage.