Kenneth Ransom and Luke Hewitt in Black Swan Theatre’s Glengarry Glen Ross; Photo: Gary Marsh Photography
David Mamet’s play, set in the ultra masculine, competitive world of Chicago real estate, is a swiftly paced, punchily written two acts laying bare the obsessions, mannerisms, methods and desperations of salesmen trying to sell real estate to unwilling buyers. From war stories, to reminiscing about past glories, mythologising the character of success, to seeing the game in action.
Ricky Roma is at the top of his game, and top of the leaderboard in a sales competition for the month, with a Cadillac at stake. Old hand Shelley Levene is trying to break a dogged unlucky streak, reliable George Arrownow bemoans missed opportunities and Dave Moss turns his loud mouth and frustration at not closing any deals to suggest taking revenge on the managers. The idea of robbing the office, taking the leads that office manager John Williamson metes out so begrudgingly, has a shocking appeal, but more shocking is the scene next morning, when the office is found to have been burgled overnight.
The all-male cast portray the world of sales, consistently talking up their own success, fearful of being left behind, self-identity tied up with recent sales performance. Damian Walshe-Howling as Roma gleams with confidence, his performance allowing moments of the glorious hustle to shine through, especially with his cold pitch to a stranger in the restaurant, but feels a little flat, missing some aspect of physical exuberance.
Peter Rowsthorn does not hold back as Levene, his dramatic range employed to show the older salesman, falling apart, desperate, pleading and with no sense of dignity or restraint. Rowsthorn’s great sense of timing and clear facial responses work very well, as do Kenneth Ransom’s rapidfire delivery of Moss’s shocking lines. Ransom provides the most consistent accent work in the cast, adding punch to his aggrieved character’s flow of ideas. While Luke Hewitt as Arrownow is physically convincing, his stance and slouched seated posture creating his role, his vowels slip and slide to distract from the content of his lines.
Striking in his contrast with the bombastic salesmen, Will O’Mahony plays Williamson with admirable restraint, echoing the scripted differences with physical and vocal contrast. O’Mahony’s tight self-control, muted expression and emotions, attract the disdain of audience as well as other characters, creating a cypher of a modern success story, only interested in his own outcomes. Ben Mortley and Steve Turner deliver solid side roles, further defining the particular characteristics of the salesmen through their own preoccupations as impatient detective and harassed husband.
The world of sales is the core of this play, but in this production the group of salesmen generally seem to be going through the motions, not as heavily invested in their self-promotional talk and tall tales as the characters could or should be. For some portions of the play it feels like the performers are just reading through their lines, a feature that will hopefully change through the current run.
Black Swan State Theatre Company rejoice in dedicated, talented technical crew, and the stage set is the hero here, with consistent period ambience and careful attention to detail. Every aspect of the two sides of the Chinese restaurant rings true, from the recessed lighting, discarded crockery on tables, calming muzak, cigarette machine and credit card company stickers on the glass panels of the door. The set swings around to reveal a slightly worn and grubby office, prepared with a sharp eye for details of 80s technology and décor, including venetian blinds, desk lamps and overflowing filing cabinets. While sound and lighting work quietly with the script, they work the entire time to support the characters’ actions. Costuming is cleverly crafted to complement each role.
A respectfully delivered version of Glengarry Glen Ross, this performance was visually very appealing and performed with assurance by an experienced cast. Director Kate Cherry keeps the text-heavy play moving and engaging, but despite all best efforts, there are still a few parts where a lack of fire in the belly leaves the delivery a little flat.
Rating: 3 out of 5 stars​
Glengarry Glen Ross
By David Mamet
Directed by Kate Cherry
Presented by Black Swan State Theatre Company
Performed by Luke Hewitt, Ben Mortley, Will O’Mahony, Kenneth Ransom, Peter Rowsthorn, Steve Turner and Damian Walshe-Howling
Heath Ledger Theatre, State Theatre Centre of WA, Perth Cultural Centre
23 May – 14 June 2015
