Retro Masculinity on Broadway, in “Glengarry Glen Ross” and “Good Night, and Good Luck”
At the height of the “Glengarry Glen Ross” masterpiece-now in the palace, in its fourth production in Broadway since 1984-a seller of a shaded real estate office in Chicago extends to his office manager to dress a deal. When the naive buyer begins to tension, the manager accidentally reveals that the seller was lying, raising thousands of dollars in the commission. “You are stupid, ridiculous Feminist genital organ“The seller abandons it.” Who told you that he can work with him men? “
The man’s work – at the fast “glengarry”, was not done in the ears “Glengarry”, in the event of pain poisoning. First, there is a crackdown required to sell even an acre from what we collect is a land that has no completely value. Then, there is the fact that every gossip in the office imagines itself as a tiger, and any conversation can become a two -drop hole. The highest operator, Ricky Roma (which Kiran Kulkin) played here, is a friend of his fading teacher, Shelli Levin (Bob Odinkirck), although he is always looking for a way for Speon’s work away from the older man. A simple chat in a Chinese restaurant, such as the center between Dave Moss (Bill Power) and the exhausting George Aruno (Michael McCain), may be in a state of criminal deviation. The moment you listen to, it was drowned. “We are only Conversation“You are cooked.”
Life works like leaders of the offices sales competition – everyone can always know who is in the future. Of course, Darwinian ethics or fate works to revive “Glengarry”, too, especially when it is placed against the movie, which was released in 1992: If you play the role of Rome, you will go to Manu with the Pacino at its creeping peak; If you are Levin, you are fighting the memories of Jack Limon and Pattino, who played the role of Levin in Broadway in 2012. I do not personally think that the theater should be a competition, but these are the rules of the Mametian game. The “Glengarry” text program is noticed as a musical result, and provides a large space for interpretation; The actor must dig deep to make an impression.
In this handsome production – which Patrick Marber directed as an entertainment show instead of a background tragedy – MCKEAN managed to collapse alongside Haruno, which leads to an invading beautiful fooled of collapse. The influential comedian in the previous Standup, such as MOSS, follows a great approach to synchronous Mamet rhythms; His angry high voice carries an amazing momentum, and strikes like glass in the bar battle. But the dynamic between the rising Ricky and the fall of Shelli is in the heart of the drama, and although Kulkin and Odinkirk are strong, they are never amazing. The image of Odnkirk of failure is sad, but not, as it should be compassionate, and Infoucance cannot be deceived by a child from a lollipop, not to mention the sale of his personality trips in a semi -philosophy.
Why is a lot of revival from “Glengarry”? Usually the answer appears clear: it provides male stars with great parts full of an amazing, serrated language. But I could not notice, in the fish air in 2025, that this is the only piece in Broadway by an explicit supporter-Maga playwright. Since “Glengarry” was heading to the Mamet, in the opening of Wall Street JournalHe wrote that Donald Trump is “returning the American government to decency, the rule of law and a good sense.” I do not feel that the producers would like to think about the policy of their writer too much, and the game of mug may be to underestimate a direct line of his fictional work for forty years to his beliefs today. But while watching the show, I was wondering what the young men sitting around me were absorbing from the uncomplicated verbal aggression, which I always believed was a brutal criticism of the American masculinity. Can all this clown vulgarity? impact anyone? Certainly no. All of these men on stage – they are only talking.
Meanwhile, in the winter garden, George Clooney actually hopes that the male example model may have a permanent impression on his fans. Broadway’s adaptation to his wonderful movie for 2005, “Good Night and Good Luck”, concludes the star’s reputation to his ability to transfer his silver magnets to the live theater, and from there, I think, to realistic event. “Good Night”, was adapted by Clooney and Grant Hisselov from their own scenario and directed by David Chromer, when men were men, and made cigarette smoke all the strabismus like cowboy, and little ladies (mostly) did not come to the office. More importantly, it happens in 1954 and about 1954, when Edward R. Moro (Clooney), in his CBS news program, “See now”, is a position against Senator Joe McCarthy, Dimagog Red Pottery who used accusations of communist sabotage as bulls against his enemies.
In the film, directed by Clooney, the co -actor in “See It now” playedly played, and David Strightne performed an extraordinary performance (nominated for an Academy Award) like Murrow. Be friendly, Clooney was charmingly different, throwing his lines away; As a director, he combined a beautiful black and white luster with an absolute camera insisting, which he looked through the windows to discover the characters in unspected moments. The archiving footage of the real masquera – which falls and screams at a sub -committee, for example – holds everything a documentary film, as if it was an artifact from the Golden Age in Hollywood.
Entering the Murrow Shoes in Broadway, Clooney is definitely graceful. It looks correct in the elegant swing of the fifties pants of the last century-designer Brenda abbandandolo fashion-he excels, as he has for more than thirty years, in connecting a kind of exhausting torque. But theatrical audio can be unforgettable, especially with the actor who tends to swallow his lines, no matter how malicious. Accordingly, to capture the Clooney attractiveness, production depends on the closest, fire on the stage with a huge CBS camera and is displayed on a large screen near the audience. It is a strategy with decreasing returns, although it allows us to see pressure in Clooney’s eyes when Murrow feels pressure.
Clooney and Melouf, cinematic creatures in their bones, are used to telling half of their story through video images, and some scenes need more repair for such a different dramatic form. The entire story line, a secret marriage between CBS employees, played by Ilana Ghilser and Carter Hudson, is carried frankly when we see the spouses embarrassingly against Brussinium, and although many crossed entrances, Cromer failed to feel the loud movement to the stage.
Thus, a code is made with a strong being. But at a time when the hammer may be more beneficial than the knife. Clooney Westerloff chose to change very little from their twenty -year -old text, which seems as if it was a deliberate symbolism of everything that is happening now. When Murrow contradicts the convictions using sealed evidence, we are considering deporting migrants to El Salvador without due legal procedures. When employees consider the signing of the “Loyalty Department”, we think about the current examination of federal workers.
It was a season when relative access to tickets was in my mind. It is more likely that the husband’s cost to “a good night, and we wish you success” means that the majority of the people who watch him are executives, media types, or good efficiency business owners, and those who may think if the courage is required. These are probably, the people who Clooney tries to reach.
Near the end of the play, we see the famous shots of lawyer Joseph Walsh asking McCarthy, in 1954, “Do you not have a feeling of fitness, sir, finally?” – The reflection point for a country of fatigue from the coarseness of McCarthy to the constitution. (I am sure that it is a coincidence that it works and walked in Hale & Dorr, a company now known as Wilmeerhale. Last month, Wilmeerhale filed a lawsuit against the Trump administration because of its “illegal attack clearly on the principles of the basis in our nation’s legal system.” LookIt seems that Clooney says. We have done this before. We can do it again. ♦
