But then Mamet himself would no doubt castigate those like me for our political correctness or wokeness, or whatever their gaslighting battering ram du jour is. The night this critic went, some people found this in and of itself funny, which at a time of rampant homophobia and transphobia in state legislatures and abortion being banned in states like Kentucky seems especially unfunny. If you are passionate about nickels of yore-I mean passionate enough to smack people around the head with irons-this is the revival for you ( at Circle in the Square, to July 10).ĭerogatory terms for lesbians and women generally pepper the text. Language is also at the heart of the David Mamet’s 1975 classic, American Buffalo-a butchly intense play about, well, antique, possibly stolen coins. Ultimately, as its tantalizing last line suggests, this Cyrano is a play about language-and what a joy it is to see such malleability and mischief of the spoken word in service of that theme on stage. And throughout and around it, rap and spoken verse link every scene, with humor, pathos, and grief in absolute balance at absolutely the right moments. The play, which asks itself as many questions as the characters ask each other, even posits a believable attraction between the men and doesn’t make the moment of its realization a joke. Tom Edden as De Guiche is both a beard-stroking comic villain and a legitimately nasty one.
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