Review: Oleanna

Mamet’s People, Mamet’s Problem

by Christian Baines

@XtianBaines

David Mamet’s writing can often feel like a kind of theatrical assault, with a broad sweep of ideas and points of view conveyed in dialogue that is not just perpetually active, but often heavy on colloquialism and peculiarity. Oleanna, his two-handed power play, is no exception, pitting a young student’s seemingly self-righteous political correctness against her teacher, whose sense of old world familiarity seems to mask much darker impulses. 

It’s a tough piece for Jaybird Productions to choose for their debut. For one, when you take on Mamet, you take on Mamet’s clipped dialogue. There’s nary a finished line in the play’s opening, making it difficult for actors James R. Woods and Jacqui Skeete to build momentum, as a tense, yet seemingly benign meeting between teacher and student takes a much more sinister tone. Could the actors and director Jaqui Burke put a few more layers into the exchange to carry it through? Perhaps. But is there something lacking in the play itself?

There’s nothing wrong with telling the story of truly awful, or just plain dispassionate people.

Mamet could scarcely have chosen two better adversaries than these clashing ideologies. Yet in Oleanna, he represents them through two manipulative jerks so repellent, that it’s difficult to feel truly involved with either cause. John is clearly an arrogant, condescending misogynist trying desperately to shield this aspect his personality, while Carol feels simply... inconsistent, flipping from a helpless self-doubter in act one to a cold, officious figure, forcing open the cracks in her teacher’s facade. Skeete admirably tries to pace herself in the latter acts, delivering moments of doubt that bring a much needed humanity to the character, but the material gives her precious little to work with. The play’s best moments come when she lowers her defences in a moment of anger, drawing closer to Woods, who explores the richer texture afforded John for all its worth. Too often, however, the script sees him wander into self-indulgent philosophising, which is interesting enough in his hands, but hardly memorable.

There’s nothing wrong with telling the story of truly awful, or just plain dispassionate people. The trick is to endear them to the audience, despite the fact. Mamet typically does so very well, particularly through his sly brand of comedy. But Oleanna plays it all straight, missing the mark as it goes. 

That said, many people have an admiration for this play. Here, it’s certainly in the hands of a hard-working and capable team. But this tale of manipulation – or is it revenge? – is a dish served a little too cold.

Oleanna plays at Red Sandcastle Theatre until November 24.

Read also an interview with company Artistic Director Jacqui Burke