This is a strange, elliptical play. I did not enjoy it as much as some of the other Mamet maniacs here, but I will admit that, in the months since I've read it, I just can't get it out of my head.A lot of this play exists in the subtext of the language and in Mamet's clever "uses of the knife." Since it is very hard to imagine it off the page, much of the time it seems like nothing is happening. I would like to see the play...
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A fan of Mamet, I've read all but two of his plays. I've enjoyed every single one and this ranks among my favorite. I recommend it to all play-readers and theater lovers around the globe! Especially Mamet fans! Read it and I promise you won't be able to put it down!
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It's too bad this doesn't get the same recognition that Mamet's other works, esp. Glengarry Glen Ross, Speed-the-Plow, and American Buffalo get. I can only agree with the critic cited on the back who believes that "in time it will take its place among Mamet's major works."Whereas so many of Mamet's other plays seem to be about the same thing but just given different titles (again, StP, GGR, AB) -- and don't get me wrong,...
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Amazing! I've read it through 8 or 9 times and keep rediscovering more of the mysteries imbedded in this complex work. Mamet peruses the rhythmic dialogue he explored in Oleanna, with a complementary view on the intellect of a 10 year old child. Act 1 involves the child's insomnia as he prepares for a camping trip with his father, whom is very late in coming home from the office. As the story progresses the boys restlessness...
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