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“We’re at a cataclysm in American history, and the question is, are we going to accelerate our decline or are we going to look at our situation and emerge into a healthy maturity as a country?” Mamet asked rhetorically. So be it.”Īn adherent of economist Milton Friedman’s free-market beliefs and a combatant in Donald Trump’s culture wars, Mamet nevertheless views a divided America’s inability to rationally or civilly discuss its differences, much less reach compromise, as a dire warning sign. So a lot of the things I was writing about many years ago, the chickens have come home to roost. If you go back to the literature of the 19th century, people said it was operating then.
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“The decay in American society, in American culture, has been operating for many years. “Like with the things I’ve been writing about that concerned me or troubled me or piqued my curiosity, an artist doesn’t really write about the future, he writes about the present,” Mamet said. Mamet, who grew up on the South Side of Chicago with an appreciation for the sacred, the profane, and the Socratic method, is by turns both Talmudic and blunt in his work. Has he paid no price at all for his sharp right turn, then? “I might have paid a price, but whatever price I paid is minuscule to the benefits I’ve reaped,” he said. “Here’s my question for you: Who’s on the other pole? Woodrow Wilson said it’s easy to get the mob to agree with you-all you have to do is agree with the mob.” “I never stop to think about it,” he insisted to me. It’s no surprise, then, that he doesn’t care to dwell on his polarizing reputation.
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Speaking from the West Coast, fresh from a tour promoting his new book, Recessional: The Death of Free Speech and the Cost of a Free Lunch, the prolific writer has, as usual, multiple projects in the works, including novels and plays. The co-founder of the Atlantic Theater Company (and its affiliated acting school), and the author of numerous books on writing and acting, as well as a number of plays published by TCG Books, continues to have strong opinions about craft, the state of the American theatre, and myriad other topics. In a recent phone interview, his idiosyncratic voice came across loud and clear. He feels no need to explain or apologize. Mamet, who speaks in much the same idiom as many of his characters, is an unrepentant provocateur with a persona that, like his art, is neither pretense nor bluff. “I’ve found that I’m able to produce his plays because they’re of great merit,” adding that Mamet’s “place is secure in American theatre as one of our foremost dramatists.” “I only talk to David about his plays and work with him as a producer works with a playwright,” said Richards diplomatically. In a recent interview, Richards told me that in dealing with Mamet, he steers clear of politics. He also continues to enjoy the support of producer Jeffrey Richards, who has made Mamet’s work, both premieres and revivals, a perennial Broadway commodity. Mamet, 74, appears unfazed, perhaps in part because an informal repertory of star actors associated with his work remains loyal, despite his seeming pariah status. His well-documented conversion from liberal to conservative, combined with incendiary, even trollish public comments he’s made on sensitive issues, have made him persona non grata among some colleagues and audiences. Little wonder, then, that actors are drawn to his work, as in the new Tony-nominated revival of his seminal American Buffalo, on Broadway now, and an all-female version of Glengarry, slated for Broadway next season.īut even as Mamet’s plays are frequently produced across the country, a vocal segment of the theatre community views him as seriously out of step for his increasingly right-leaning politics. Staccato fireworks spill from the mouths of characters whose verbal blood sport and power dynamics, tinged always with the threat of violence, play out against a shifting landscape of secrets, lies, hard truths, and grift. The clipped, coarse, poetic patter of his work, commonly identified as Mamet-speak, crops up in his plays ( Glengarry Glen Ross, Speed-the-Plow) as well as his film scripts ( The Verdict, House of Games). Count the controversial David Mamet among them. Few playwrights create a language for the stage so distinctive it cannot be mistaken for anyone else’s.