The much-anticipated revival of David Mamet’s play "Glengarry Glen Ross" opened last night at the Palace Theatre in New York City. This production marks the fourth time Mamet’s work has graced Broadway. However, early reviews suggest that this version may not live up to the high expectations set by its predecessors.
The play, which runs for one hour and 45 minutes with an intermission, dives into the cutthroat world of real estate salesmen in Chicago. It explores themes of greed, desperation, and moral compromise. Despite its reputation, this revival has been described as lacking energy and excitement, with critics noting that the performances felt subdued rather than explosive.
One of the play’s most famous lines, “Coffee is for closers only,” is not actually spoken in the original script, but it has become synonymous with the story. Critics have pointed out that the revival could benefit from more intensity, as jokes that should elicit laughter instead drew only polite chuckles from the audience.
The cast features a notable lineup, including Oscar winner Kieran Culkin, Bob Odenkirk, Bill Burr, and Michael McKean. While their performances have been praised, some critics feel that the large setting of the Palace Theatre diminishes the intimate nature of the play. The first act unfolds in a small Chinese restaurant, while the second act takes place in an office that has been ransacked. The expansive theater space has been criticized for making it hard for the actors to connect with the audience, leading to a loss of tension and engagement.
Culkin plays Ricky Roma, the top salesman, but some critics argue that he doesn’t fully embody the character’s aggressive nature. Odenkirk shines as Shelley Levene, a desperate salesman struggling to make ends meet, and his portrayal resonates with the audience. Burr and McKean also deliver strong performances, with Burr’s loud personality and McKean’s comedic timing standing out.
Despite the star-studded cast, the production has been described as “criminally underwhelming.” Critics suggest that a smaller venue might have allowed for a more focused and impactful performance. The consensus seems to be that while the revival has potential, it struggles to capture the raw energy and intensity that Mamet’s work demands.
As the curtain rises on this latest iteration of "Glengarry Glen Ross," it appears that both the actors and the audience face a challenge in finding the play’s pulse in such a vast space. Whether this revival can find its footing remains to be seen.