Keep Your Pantheon and The Duck Variations
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O'Neill, Paymer, Cassidy
Photo by Craig Schwartz
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By Melinda Schupmann
The news that a new David Mamet play is having its world premiere in Los Angeles brings out the troops. Considered one of the leading contemporary dramatists and writers, along with a raft of other talents, Mamet's Glengarry Glen Ross and Speed-the-Plow both won Tony nominations, and his films The Verdict and Wag the Dog were critically acclaimed. In this duo, Mamet seems to be taking a breather from intense intellectual dialogue and having fun with a pair of low key, amusing trifles. Sure, he hits some of his own personal favorite topics, like sexuality and power, but on the whole, you can watch them as you might watch television: If you want to take the high road and dig for meanings, they're there--just not quite as intensely as in some of his weightier plays.
The first in order is The Duck Variations. First performed in 1971, Mamet brings two old duffers (Michael Lerner and Harold Gould) together and puts them on a park bench. They begin to talk about ducks, their habits, and relative merits. Its absurdities deliver the laughs required, and there is a bittersweet sense that these old guys are reaching the end of the line. Lerner is the leader of the conversation--reminiscent of Cliff Clavin in Cheers--quoting sources, spouting triva with an air of purpose. The recipient of these pronouncements is Gould, understated and milking every one of his spare responses for all they're worth. Director Neil Pepe is an old hand at rendering Mamet, and his touch is subtle.
The second play is very different. It's the world premiere, and a burlesque that could be likened to early vaudeville days, Carol Burnett show skits, or even Saturday Night Live in some of its zanier moments. The satire is up-front and not so refined, and it skewers actors and critics with zest.
Ed O'Neill is Strabo, the leader of a second-rate acting troupe in old Rome. They are out of money and have been led to believe that they are up for a gig at the upcoming Sicilian Cork Festival. When that falls through, they sign on to appear as entertainers at the home of the
wealthiest Roman, Marcus Cronax. By mischance they arrive at a rival's house and insult the 10th African Legion. It turns out that it is punishable by death.
The whole skit is funny because of the spot-on cast. Strabo's beleaguered sidekick, Pelargon, is the quintessentially put-upon David Paymer. His dead-pan, defeatist persona makes a great foil for O'Neill's blustery conniving.
Michael Cassidy plays Philius, a guileless young apprentice who is desired by Strabo and others, His part, which could be ignored as a plot device, brings a lot of laughs because of his convincing naivetee.
Mamet throws in some commercials, delivered by Vincent Guastaferro, to add further comedy to the proceedings. They're pretty silly but work OK because of the rest of the nonsense. Jack Wallace also does a nice turn as an old bum whose help may just get the boys out of trouble.
Jeffrey Addiss, Steven Goldstein, Dominic Hoffman, J. J. Johnston, Jonathan Rossetti, and Rod McLachlan round out the ensemble as soldiers and citizens.
This won't win Mamet any prizes, nor will critics enthuse about its weighty subtext. If they do, they need to go into another line of work. This is Mamet-lite, and with that understanding, it's a fun evening.
Presented at the Kirk Douglas Theatre, Center Theater Group, 9820 Washington Blvd., Culver City. Tues-Sat at 8; Sat. at 2 p.m.; Sun. at 1 p.m. and 6:30 p.m. No perfs on Mondays. $20-50. Tickets at CTG Audience Services at 213-628-2772, on line at www.CenterTheatreGroup.org or in person at the box office 2 hrs. prior to the show. Hot Tix available at $20 purchased in advance or on the day of the performance at the box office (no checks). Further information see Center Theatre Group.
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