In the realm of theatre, few plays have captured the essence of 1980s American capitalism as effectively as David Mamet's Glengarry Glen Ross. The original production was a masterful portrayal of the era's cutthroat real estate salesmen, and it's intriguing that Mamet himself conceived of an all-female version. However, this gender-swapped adaptation, directed by Patrick Marber, falls short of the original's impact, leaving me with a sense of disappointment and a few questions.
The wardrobe choices are a notable aspect of this production. The female ensemble, dressed in suits or skirts and heels, creates a sense of distance between the characters and their actors. This is perhaps intentional, as it allows us to observe the cast 'performing' masculinity, complete with Mamet's signature linguistic punchlines. The play, originally a dark comedy, takes on a more exaggerated, Bugsy Malone-esque quality in this adaptation, but the darkness seems to have been lost.
Indira Varma's portrayal of Levene, the elder salesman, is a standout performance. Varma brings a delightful relish to the role, playing him as an apoplectic fool on a caffeine high. However, the tragedy of his failure to achieve the American dream feels diminished. The focus is more on the humor and exaggeration, making it feel like we're watching a send-up rather than a profound exploration of a man's struggle.
Rosa Salazar, as the office alpha Roma, shines as a smooth wheeler-dealer, and her performance is the highlight of the production. The other salesmen, Nancy Crane's Aaronow and Niky Wardley's Moss, are less defined, with Wardley's character in particular feeling underdeveloped. Dorothea Myer-Bennett's Williamson, the office manager, is portrayed as a quiet controller, lacking the menace that one might expect.
The gender-swapped production raises interesting questions. Why are these women playing at being men, rather than embracing their female identities and challenging the capitalist system from a different perspective? The era of Margaret Thatcher might have been a time when women entering masculine spaces felt pressured to mimic men, but this production doesn't explore that dynamic deeply.
The purpose of the gender reversal remains unclear. While some productions are motivated by gender parity or political statements, this one feels arbitrary. It's a missed opportunity to delve into the complexities of capitalism and patriarchy, and instead, it focuses on the magnification of masculinity.
In my opinion, the all-female version of Glengarry Glen Ross falls short of its potential. It's an interesting concept, but the execution lacks the depth and impact of the original. Perhaps the focus on 'performing' masculinity overshadows the exploration of the underlying societal issues. This production leaves me with a sense of curiosity about what could have been, and a reminder that gender-swapped adaptations should strive for more than just a superficial change.
As the curtains close on this production at the Old Vic theatre, London, until July 18th, one can't help but wonder if the gender reversal was a mere distraction from the play's deeper themes. It's a thought-provoking piece that, unfortunately, doesn't quite live up to its promise.
