The Penitent

A classic David Mamet subject without his signature style of endless cursing.  Mr. Mamet has penned a moral and ethical dilemma that really has no answer but leaves lots of questions.  It's done in an ingenious style of giving you only some of the facts, making you guess at others and revealing a key element right at the end - which only serves to make you reflect back upon the entire play, who said what and how it fits with this new-found nugget of knowledge.  Mr. Mamet cleverly weaves a legal issue (murder) with homosexuality (a murder committed by a gay boy) and religion (his doctor seems to have some opinions on both matters).

I am no Mamet expert.  Frankly I'm no expert, period.  However, upon reflections on the events in the play, for some reason, I am driven to conclude that Mr. Mamet's ultimate goal is to rip religion a new asshole for being used as a cover and an excuse all too often.  I could be wrong, but I really think the doctor may not have been a deeply religious man, but when he made a mistake with his patient (which involves a gun) he may have felt it OK to cover his mistake with an even bigger lie about his religious beliefs.  Like I said, I'm no expert, but If someone did what the doctor's wife reveals at the very end, I can't imagine how anyone could allow it to happen - sworn Hippocratic oath or not.

I will say that Chris Bauer (Charles) held court in most every scene with his own strong convictions and beliefs.  His wife (Kath) Rebecca Pidgeon was a bit stilted and awkward.  Not sure if that was intentional or it was just a lack of performances to master the Mamet style dialogue.  Lawrence Gilliard (The Attorney) provided a brilliant and impeccable performance poking holes in the doctor's statements during a remarkable deposition scene. Jordan Lage (Richard) was a stalwart defense attorney to Charles.

Head on over to the Atlantic Theatre on West 20th and catch a performance of a gripping and thought provoking drama.

Storefront Chruch

John Patrick Shanley's new work is a powder-keg.  The third and final work in his trilogy that started with Doubt, continued with Defiance, now ends with Storefront Church.  (One wonders why, given the plot, it is not named Debt).  Staged at the Atlantic Theatre Company's Linda Gross Theatre, a former church, itself, the play explores the ethics and power behind and between religion and politics and their, some would say, dangerous, others would say, rewarding intersection.

Sharp, intelligent dialogue.  Powerful performances.  Thought provoking and relevant plot.  These words don't even do the work justice.  You'll take a side.  It doesn't matter which one, but you'll take a side.

Bob Dishy is deliciously funny as Ethan Goldklang.  Giancarlo Esposito helms the tense production with aplomb as Bronx borough president, Donaldo Calderon.  Zach Grenier is pitch-perfect in his portrayal of fallen banker, Reed Van Druyten.  Ron Cephas Jones takes on the stoic, angry, and conflicted reverend, Chester Kimmich.  Jordan Lage plays the role of bank CEO Tom Raidenberg with aplomb.

I had high hopes for Tonya Pinkins in this production and they were dashed.  Specifically I was quite annoyed at Mr. Shanley's choice to have her speak with a Puerto Rican accent.  She was terrible at that and it would have been very simple to have her speak like an old black woman instead  - after all - she is black and we know she can do it from her award winning performance in Caroline or Change.  That alone could have turned her performance from disappointing and mediocre to pivotal and powerful and it would not have affected the plot in any significant way.

Will this one transfer to Broadway?  Doubt certainly did.  Defiance did not (and probably didn't deserve it).  Change the name to Debt (it's catchier), throw out a few elongated scene changes, and maybe skip the music, and you may just have Broadway's next hit.  After all, off-Broadway is the new Broadway testing ground these days.

Two Unrelated Plays

Glengarry Glen Ross