08 Feb Oleanna
by David Mamet.
at THE BERKELEY CITY CLUB.
directed by Michael Storm.
Preview, Friday April 20.
Runs April 21-May 13, 2012.
Oleanna, a powerful two-character drama by David Mamet, explores the destructiveness of miscommunication and excessive political correctness. It is a play about academic politics, student/teacher relationships, and ultimately about power, in America; who has it, how did they get it and how does having it affect them as individuals. Art for the 99%.
Come help TheatreFIRST celebrate the 20th anniversary of this seminal work. We have post-show discussions currently scheduled for Sunday, April 22nd and Sunday, April 29th. They are sure to be almost as interesting as the play itself. Lauded as one of the finest playwrights of his generation, Mr. Mamet is best known for his plays Speed the Plow, American Buffalo and Glengarry Glenn Ross, for which he won the Pulitzer Prize for playwriting, and his screenplays for Wag The Dog, The Untouchables and The Edge. This play is directed by TheatreFIRST Artistic Director Michael Storm.
“There can be no tougher or more unflinching play than Oleanna.” — Harold Pinter
“As if ripped right from the typewriter, it could not be more direct in its technique or more incendiary in its ambitions.” — The New York Times
In May of 1992 David Mamet directed the premiere of his new play, Oleanna, for The Back Bay Theatre Company and American Repertory Theatre in Cambridge, Massachusetts and in so doing shook up the theatre world for years to come. Now with the financial bubble bursting, the Occupy Movement and the Penn Sate debacle revealing sexual improprieties and subsequent cover-ups at campuses across the country, Oleanna is as relevant as ever.
“One of the ten best plays of 1992…reason to cheer for the future of the theatre.” — Time Magazine
“An ear for reproducing everyday language has long been David Mamet’s hallmark and he has now employed it to skewer the dogmatic, puritanical streak which has become commonplace on and off the campus. With Oleanna, he continues an exploration of male-female conflicts begun with Sexual Perversity in Chicago in 1974. Oleanna cogently demonstrates that when free thought and dialogue are imperiled, nobody wins.” — Michael Wise, Independent
“Carol comes to John’s office, distraught, to ask for a passing grade; though preoccupied with his approaching tenure confirmation and plans to buy a new house, he decides to help her. What happens after is a matter of individual interpretation, even though we see exactly what happens. Or do we? What’s so infernally ingenious about Oleanna is that as its characters vivisect what we have just witnessed, we become less and less sure of what we saw. Even more distressing is the situation itself, which slips out of control without our really understanding how or why. ” — Ben Brantley, New York Times