Kieran Culkin leads the essential succession

GLENGARRY GLEN ROSS

Opening evening: March 31, 2025
Place: The Palace Theater Broadway
Written by: David Mamet
Directed by: Patrick Marber
Casting: Kieran Culkin, Bob Odenkirk, Bill Burr, Michael McKean, Donald Webber, Jr., Howard W. Overshown, John Pirruccello
Operating time: 1 h 45 min (a intermission)
Take -out dateline: He should strike more than one visitor to the last Broadway renewal GLENGARRY GLEN ROSS That – do it a lot – of television today owes a massive debt to the playwright David Mamet. The TV-TV distribution of this excellent revival produced by the Grand Patrick Marber (including 2020 Leopoldstadt There remains one of the great achievements of Broadway in the 21st century) seems to have absorbed the mamespeak dialect formerly rarely heard outside the walls of the Atlantic theater company in the city center.

But try to imagine Roman Roy by Kieran Culkin in Succession or bob odenkirk Better call Saul Or the angry stand-up character of Bill Burr without Mamet in front of them. In fact, don’t worry. Just see these three stars in the new GLENGARRY GLEN ROSSAnd take advantage of it.

Culkin, Odenkirk, Burr and Castmates Michael McKean, Donald Webber, Jr., Howard W. Overshown and John Pirruccello are so immersed and, yes, expert, in that sleazy, duplicitous and forever captivating world of ’80s Mametian that their combined The Latest Revival of GLENGARRY GLEN ROSS, Opening this evening to the magnificent renovation of the Palace Theater in something exciting.

Not that Glengarry Will be everyone’s Gimlet’s cup – the whims of his plot will forever keep some of the arm length, as well as all these toxic male fanfasts (Oh, how I hope that rumors of an imminent theater distribution are true) – but for those who are ready to dive into this unique theatrical world written by a dramatic in the top of his greatest number of people, here.

The synopsis, for those who have not seen or were misleading by the 1992 cinematographic version significantly modified with the new real estate office “always closes always”, is as follows: a third -row chicago real estate office, generally described as four sellers – a pool of dog dogs (for now) – which borrows to sell for a drop in the supply (for a reduction of Watch to Reducing the reduction in supply reduction (for a reduction in the word for a reduction for a little Wather) – for a reduction in Wather to With Customers SAP. Seller is under pressure to see their names climb the table, the winner obtaining a framing and loser in the street.

Mamet affirms the office with some of his most lively characters: there is Richard “Ricky” Roma, here played by Culkin with all the dishonesty childish on which he perfected Succession. Culkin, in a fantastic performance, rages, charms, wheedles and lies to obtain this shopping cart, his most pathetic target a brand he meets in a Chinese restaurant. After having turned a story of cocktails that makes you believe that he and the brand (a John Pirruccello) were friends for life, Culkin, in silver mode in silver, the first real laugh of the play: “My name is Richard Roma, what is yours?” He is selling.

Then there is Dave Moss, the comic strip perfectly cast Bill Burr, the most intimidating of the gang of brutes ready to go beyond the tactics contrary to the ethics that his colleagues use to climb the graphic. The opening scene of the play is Moss and the George Aranow, a little without reproach, (Michael McKean, without fault) in a large Chinese restaurant in Red Booth (and otherwise empty), with a fast and disjointed flight scheme when finally arrived at the point: he wants Aranow to join a flight program in the most promising sales and will not sell information on the office.

Perhaps the funniest scene of the play, McKean does not miss a beat in the slow realization of Aranow’s aging that it will be he who will take all the risks of the Moss plan, with little reward. We will not know his answer until later in the room.

And finally among the sellers is Shelley “The Machine” Levene, perhaps the biggest creation of Mamet and here played in an expert manner by Bob Odenkirk. Not even Simpsons could keep their hands out of this character: the nervous businessman and sweating “ol ‘gil” is Shelley by another name). A long time ago, Shelley is no longer a sale machine of any kind, and above all asks for a break in comic pleadings the sellers who do not consider this “secretary” to their equal, a comment both on the misogyny of the office and, in this production in any case, his racism: Williamson is played by Donald Webber, Jr., the black actor alone in the distribution.

Act II of the room comes from the flap of the Chinese restaurant of sellers at the office itself, the curtain rising on a ransacked workspace which was undoubtedly not much better before the burglary of the previous night. The files have overturned, stolen phones, papers around the world and gourmet and laser -oriented sellers, barely taking a remark until they need their own documents.

In this new ruffled world arrives the det. Baylen (a Howard W. Overshown, similar to a Pitbull), which investigates the break -in and does not concern any feeling in the interrogations (out of stage) of each member of the staff. What the public knows that Baylen does not do is that Moss clearly found the accomplice that he was looking for the previous night, but who?

Well, that’s about everything for the plot. The second half of the play takes place as a series of arguments and sales fields and insults and protests on who did what or who could have done what or who most needed the most. In good hands, and this production is nothing except straight hands, GLENGARRY GLEN ROSS Blows, as pure and elegantly, takes place a demonstration of the modern theater that it has been reconstructed for many decades.

The director Marber clearly has a solid understanding of the intentions of Mamet, never promoting one character compared to the other or brilliant in a more sympathetic day. Marber knows that if something can be said on GLENGARRY GLEN ROSS“ Take toxicity is that he presents himself in all forms and sizes, whether it is the approach of good Buddy adopted by Culkin, the sympathetic shark embodied by Odenkirk, the confusing butter of McKean, he would not take the grip or the manipulations of the brutally honest red character of the character of Burr. Everyone deserves their place in the landscape of dilapidated capitalist underworld captured so effectively by the design of the production of Scott Pask and the old -fashioned office lighting of Jen Schriever.

There are certainly other Trumpian corruption criticisms to see Broadway this season, but little speak so eloquently that the vivisection of Mamet from 1983. So well, this production leaves us more badly – like this entirely female version which was supposed. Do not wait for an official decision – Make your list of imaginary head space start. Mine begins with Patti Lupone.