We round up the reviews for this all-female version of David Mamet‘s classic play, running until the 18th July.
WhatsOnStage: “The cast rises to the technical demands of Mamet’s deliciously rapid and rhythmic script – all overlapping speech and half-finished thoughts, artfully drawn images and barked expletives.”
Camden New Journal: ” Mamet’s rapid-fire dialogue barely allows us to draw breath, while Marber sets a terrific pace that occasionally outpaces our focus.”
The Arts Desk: “O Glengarry, where is thy sting? That’s likely to be one response to the bewildering Old Vic revival of David Mamet’s defining (and remarkable) Glengarry Glen Ross, which I saw in its 1983 National Theatre world premiere production when I first moved to London and have loved ever since. I missed its Broadway incarnation last year, a star vehicle for a then recently-Oscar’ed Kieran Culkin and directed by Patrick Marber, the Tony-winning Englishman whose own plays (Closer, especially) have more than a whiff of Mametian ruthlessness about them.”
London Theatre.co.uk: “Does Mamet’s portrait of merciless capitalism hit as hard now? Well, we are in the age of tech bros, online scams, and Trumpian politics, plus influencers whose jobs and personal lives are almost entirely blurred. Yet despite its fresh casting approach, this production is pretty firmly rooted in the past. But if it’s not as bold conceptually as it might be, the dynamite female company does seal the deal.”
The Reviews Hub: “That being said, the cast is exceptional and does a fantastic job of hooking the audience into the murky world of real estate. Salazar is a powerhouse; her self-assured confidence as she portrays the egotistical Roma perfected in every line. Niky Wardley as Moss is equally as entertaining, her quick, bullish energy and well-timed line delivery as she tries to manipulate the humorously unsure Aaronow (Nancy Crane) spot on. Varma and Dorothea Myer-Bennett (Williamson) have brilliant chemistry, showcasing the power shifts between the down-on-his-luck Laverne and the in-control Williamson, balancing the energy from each other well.”
Time Out: “It’s a fascinating idea, and while it would be odd to see this without at least having seen the film for reference, I’d say it’s an experiment that works.”
All That Dazzles: “Glengarry Glen Ross is quite clearly a classic, and this production is daring in its approach to try something new. It is probably down to how high-profile it all is that it falls as flat as it does, with the sense that it would have been less noticeable elsewhere. It is a fitting example of what happens when a production doesn’t play to its strengths, and this configuration does absolutely nothing for the story, with potential and possibility rarely met.”
Theatre Vibe: “Glengarry Glen Ross has incredible performances from almost all of the cast but it remains a cynical, nasty reminder of the yuppie heights of greed in the 1980s under Reagan and Thatcher.”
West End Best Friend: “Rosa Salazer delivers the standout performance as Richard Roma. Her timing and physicality are impressive, switching seamlessly between aggression, warmth and humour without ever appearing like a caricature: an outstanding performance. Indira Varma is also superb, bringing passion and heart to the role of Shelley, strutting about the stage, making most of the ‘in the round’ set up. Nancy Crane and Niky Wardley bring welcome humour to the show, and Dorothea Mayer Bennett plays the exasperated office manager role convincingly. The cast are strong, and it would be great to see them playing the female versions of these characters.”
Broadway World: “Marber keeps the text taut, cut down to a bare bones ninety minutes. Each line is sharpened to a point and the cast savour each syllable of every venomous barb.”
South London.co.uk: “That said, there is still much to admire. The performances are convincing, the accents impressive, and there are genuine laughs scattered throughout the tension. I particularly enjoyed the narrative of a feisty sales team hustling to survive, while former top seller Levene, once known as “Shelley the Machine”, finds herself frozen out and given bad leads, then takes desperate measures. Marber clearly understands the power of Mamet’s writing, and his description of the play as both profound and obscene feels entirely fitting, and his belief that it speaks directly to the world we live in today.”
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