A good friend told me about a production of Oleanna (by playwright David Mamet) that he attended where the audience was actually segregated along gender lines. I can understand how that could be very intriguing and effective given the subject matter and eventual outcome of the piece. It's definitely provocative, like most of Mamet's work, and the latest presentation by HotCity Theatre, which is currently playing the Kranzberg, is a terrific evening of theatre that's buoyed by two fine performances and insightful direction. It might even be required viewing for teachers and students because of the way it blends its pokes at higher education and political correctness. You'll certainly be affected by it no matter which gender you happen to belong to, or identify with, it's that powerful.
Carol is a student at a university who's having a particular problem understanding her professor's course. John is the professor who's angling for tenure and the perks that come with it, when Carol arrives to discuss her grades and changes his life irrevocably. John attempts to build up the self esteem of Carol and work a deal with her so that she will pass, but the language he uses to communicate, and it's always about the language when Mamet is writing, continues to fly over her head, or so it would seem. In three telling scenes we witness the balance of power shift and the roles of these two characters reverse. It's an intense experience that any new teacher could relate to as a cautionary tale.
Rachel Fenton, who's been popping up and doing excellent work in a lot of show lately, is Carol. She seems mousy and overwhelmed at first, unable to comprehend the words and the constant stream of metaphorical data that her teacher is spouting. John Pierson, who I haven't seen give anything close to a less than stellar performance, matches Fenton step for step with his role as John, her professor. Watching the pair spar in this brief, but memorable play is an unnerving joy. Pierson's character seems to be on the cusp of a power he's coveted for some time when this student arrives in his office. And, though the things that transpire seem innocent, there's always room for interpretation. This is where it gets sticky, but I'll refrain from giving too much away.
Annamaria Pillegi directs with a sure hand and has the cast in perfect rhythm with Mamet's rapid fire, but always conversational dialog. She's aided by Lex Van Blommestein's lovingly crafted office set and the straightforward and believable costuming of Scott Brehan. Mark Wilson's lighting is dramatic and Michael Perkins adds the Ted Bikel sung folk song “Oleanna” to the mix, along with some well timed telephone rings. Meg Brinkley's props bring the office to life in simple, but effective fashion.
HotCity Theatre's current production of Oleanna is a real sizzler and shouldn't be missed. It continues through February 4, 2012 at the Kranzberg Arts Center.
