ZOOM/HOWLROUND — Let’s be clear: Waiting For Kim Lee is not a play; it’s a rant, forced into a dialogue. I hate it when people screech from the steps of a soapbox and call it art (David Mamet* comes to mind). I also hate the superficial media representation-discussion that seems to be the only thing Asian American artists ever talk about.
That was fine in 2016, but right now, we’re dying of COVID-19 at higher rates than the national average and getting hate-crimed for America’s pathetic epidemic response. We’re struggling to keep our businesses afloat, and protesting for our right to exist, and for Black lives. Complaining about parents and how many auditions you’re getting right now seem like outdated and out of touch problems.
It would be one thing if Waiting for Kim Lee had anything especially insightful or new to say about it, but this play just recycles the same few talking points that have already been rehashed by every Buzzfeed article for the last five years. Not only are they stale, but they are also narrow-minded and miss the point. Continue reading →
(Somerville, MA/NYC) Occasionally the New England Theatre Geek is invited to review plays. Theatre Communications Group (TCG) provides gratis paperback copies to NETG in exchange for objective reviews. The opinions stated here are not shared by TCG and are the author’s own. Continue reading →
(Lowell) If you want to see inside the male workplace psyche, you must see the new Merrimack Repertory Theatre production of Glengarry Glen Ross, but I warn you: it’s not a pretty picture. It’s every man for himself and there is no mercy in David Mamet’s brutal examination of greed. Continue reading →
Directed by Charles Towers
Listing by Craig Idlebrook
Greed may not be good, as fictional stockbroker Gordon Gekko once famously espoused, but it never goes out of style.
In the 1987 film Wall Street, Gekko’s ode to greed was devastating to hear for Americans who had just suffered through insider trading and junk bond scandals. The late eighties also produced Glengarry Glen Ross, a razor-sharp play by David Mamet which examines greed on the micro-level, as bottom-feeding real estate agents in Buffalo lie, cheat and steal to sell tracts of land in Florida. While focusing on everyday financial crimes, Mamet creates an allegory for Wall Street greed that resonated with Main Street theatergoers in the late eighties. Continue reading →
(Watertown) It’s become trickier to discuss racism in the post-2008 election era than it was before. We have elected a black president, many hope to say, and that is enough.
Leave it to troublemaking playwright David Mamet to clear his throat amid the quiet in 2009 with his biting and succinct dramatic comedy, Race, now being performed by the New Repertory Theatre in Watertown. His play refuses to rest on recent racial gains, instead showing the trouble beneath the surface, the kind
that otherwise is obscured unless a police officer arrests a Harvard professor or a neighborhood watchman shoots an unarmed teen. Mamet’s script sparks necessary dialogue about an uncomfortable subject, but the flawed storyline of the play, combined with uneven execution by New Rep’s cast, misses the opportunity to create deeper understanding of inherent social inequality. Continue reading →
(Waltham, MA) Jonathan Larson wrote, “when you’re living in America…you’re what you own…”; this idea is taken to the highest degree in David Mamet’s November. Hovey Players hits the heartstrings of the nation as it skillfully examines American politics and policy as we struggle to define what a democracy is and what we are willing to sacrifice for that democracy. Continue reading →