Theatre season in Buffalo has been off to a strong start. During Curtain Up week in September I was able to catch two excellent comedies: the charming adaptation Killer Rack at Alleyway and Noel Coward’s coruscant Design For Living at Irish Classical. Drama, however, is the flavor for November. Theatregoers have two fine choices in Glengarry Glen Ross at Road Less Traveled and The Crucible at Kavinoky.
Glengarry Glen Ross
In the age of Zillow, the basics of the play – an all-male real estate office fixated on index-card leads – seem a little dated. But RLTP has proven that the play is timeless – and ferociously relevant right now.
… Like these salesman we are all poor players, we are all walking shadows, strutting and fretting our hour upon the stage; we are full of sound and fury and we aren’t sure if anyone is listening: if there is someone out there, above us or behind the eyes we meet on the subway, at a Chinese restaurant, in the office, in bed, all we care is that they “sign on the line which is dotted.” All we want is to close; but as Glengarry Glen Ross demonstrates so powerfully, there is no final “closure,” and winning the Cadillac El Dorado “signifies nothing”: There is only the next sucker, the next sale, the next word in a neverending monologue. When Levene gloats to Williamson, “A man’s his job and you’re f*cked at yours,” he could, really, be speaking to any of us.
Proctor is talking about the witch trials. Because Arthur Miller is the author, Proctor is also talking about 1950s American anti-communist hysteria, another “crucible” in our history, which would sweep up and imperil Miller and some of his closest friends around the time of the play’s composition (1953). And because we are the audience and our year is 2017, John Proctor is also talking about the American Kangaroo Court culture and its Tweeter in Chief, where to prosecute is to hold power, to accuse is to claim privilege, and there is only safety in the transference of blame.
… Though occasionally slow and imbalanced overall, at its emotional crescendos (which are not, usually, the play’s loudest parts), masterful performances will carry away all the audience’s doubts, quibbles, and objections about this admirable production.