‘OLEANNA,” David Mamet‘s play about radical feminism and polit ical correctness run rampant on campus, is closing Jan. 3 at a loss of more than $2 million.
That’s too bad. This is a solid revival, well acted by Julia Stiles and Bill Pullman, of an old Mamet play that still has teeth (unlike, say, last season’s deadly “American Buffalo”).
One of the best things about “Oleanna” was the post-show discussions, the so-called “talk-backs,” which have gotten quite popular on Broadway.
Feminists, lawyers, newspaper columnists (I was one) and politicians, including David Dinkins, led the audience in a debate about whether the female student in the play was justified in bringing down her male professor by claiming sexual harassment.
Most of the audience stayed, and the discussions were lively. The producers were pleased because people left the theater talking, animatedly, about the play, thereby generating word of mouth.
I don’t think the talk-backs sold many tickets. But since the show ran just 80 minutes, they were a way of making the evening seem less chintzy.
“They definitely added value,” says a production source.
Alas, Mamet hated them. He never attended one, but he’s against them on principle, believing that his play should stand on its own and not be picked apart by “experts” on the law, feminism and campus sexual harassment policies.
“The talk-backs added a lot to the show,” an investor says, “but we were told by David’s agent right after we opened that he didn’t like them.”
Mamet couldn’t stop them. Writers control only the script, not what happens onstage after the final bow. But he had a trump card to play. When the show opened to mixed reviews, the producers had to cut expenses and asked Mamet to waive his royalties.
His price? No more talk-backs.
Production members are bitter that Mamet nixed something they believed was helping the show.
“This is a play that’s supposed to generate controversy, and the audience wanted to talk about it,” a source says. “Mamet was basically saying ‘F – – – you’ to his own audience.
“We’ll never know if the talk-backs could have become a selling point because he shut them down so quickly.” (They ended right after the show opened.)
Mamet has a reputation for not lifting a finger to help his plays. He refused to do publicity for “American Buffalo” because, I’m told, his ex-wife, Lindsay Crouse, won a share of the royalties in her divorce settlement.
Once in a while he’ll write an essay about a play that will be published before opening night. But he won’t do interviews and usually refuses to have his picture taken with the cast.
“Basically, you get no help,” says a producer who’s recently lost money on Mamet shows.
That’s foolish, since his name alone doesn’t mean big box office.
(One of his worst plays, “November,” sold well only because Nathan Lane salvaged the evening with a terrific comic performance.)
Mamet’s new play, “Race,” which he’s directing, has only so-so advance sales. (Previews began Monday.) I read it, and while I’m not going to smack it around before it opens, I think some talk-backs might help.
In fact, if Mamet wants to debate the whole idea of post-show discussions, I’ll take him on after a performance of “Race” on the stage of the Ethel Barrymore Theatre.
Your call, Dave.