In the world of theater, gender-swapped productions have become a fascinating trend, offering a unique lens to explore classic plays through a contemporary, often political, perspective. David Mamet's Glengarry Glen Ross, a masterpiece of 1980s capitalism, has been reimagined with an all-female cast, directed by Patrick Marber. This production, while intriguing, leaves much to be desired in its exploration of gender dynamics and the underlying themes of the play.
A Gender-Swapped Take on Caveman Capitalism
Mamet's play, a dark comedy or perhaps a funny tragedy, delves into the cutthroat world of Chicago real estate salesmen, a realm of fast talk and unprincipled acts. The decision to stage an all-female version, surprisingly, came from Mamet himself. The female ensemble, dressed in a mix of trouser suits and skirts, are clearly playing at being men, a choice that creates a fascinating distance between character and actor.
The Missing Darkness
What makes this production particularly intriguing is its departure from the original's darkness. Mamet's whip-smart dialogue remains, but the high energy and volume become relentless, almost tonally flattening. The focus shifts from the tragedy of failed manhood to a send-up of these characters, especially Levene, played by Indira Varma. Varma's portrayal of Levene as an apoplectic fool, surfing a caffeine high, lacks the compassionate dimensions Jack Lemmon brought to the role in the 1992 film. The American dream, a central theme, feels like a distant, rigged dream in this production.
The Highlight: Roma
One character who shines through is Roma, played by Rosa Salazar. Roma, the office alpha, is well-defined and becomes the highlight of the production. Salazar's portrayal of a smooth wheeler-dealer, pumped up on selling powers, is a refreshing take on the character.
Unresolved Gender Reversal
The other characters, however, remain less defined. The meek Aaronow, the chippy Moss, and the functional Williamson all lack the depth and menace their male counterparts might have brought. The production's choice not to contemporise the corporate world is interesting, especially given shows like Industry, which showcase women's capabilities in aggressive power plays. It raises the question: why are these women playing at being men, especially in the era of Margaret Thatcher, when women entering a masculine space often felt forced to ape the men?
Capitalism and Patriarchy
Is it capitalism, crossed with patriarchy, that turns these characters into venal desperados? They are cogs in the machine, chewed up by a system that values masculinity. This production, with its focus on the magnification of masculinity, seems to miss this crucial point. As outgoing artistic director Matthew Warchus notes, gender-switched productions have various motivations, and in this case, the purpose of the gender reversal feels unresolved.
A Thoughtful Takeaway
While this production of Glengarry Glen Ross offers an interesting take on the play, it leaves one wondering about the true purpose of the gender reversal. It raises questions about the interplay of gender, power, and capitalism, but perhaps falls short of fully exploring these themes. Despite its promise, the production feels like a missed opportunity to delve deeper into the complex world Mamet created.
