016 – Oleanna, by David Mamet
David Mamet’s explosive play Oleanna which shows how a seemingly benign conversation between a university professor and his female student can go so badly wrong caused intense controversy and divided audiences when it was first produced in 1992. The heated debate provoked by the play pitted naysayers of political correctness against those tired of the complacent abuses of patriarchal power. It is now being revived at the Theatre Royal Bath in a new production directed by Lucy Bailey. How will we see the sensitive issues it raises differently nearly 30 years on and in the light of the #MeToo movement? I’m delighted that Lucy Bailey joins us just as she finishes rehearsals to explore the nuances of the debate and reassess the relevance of the play’s messages.
David Mamet is the author of a number of acclaimed plays, including American Buffalo, Sexual Perversity in Chicago, Speed the Plow and Glengarry Glen Ross. Oleanna opened in the US in 1992 in Cambridge, Massachusetts before an Off-Broadway run that year, followed by its UK premier at the Royal Court Theatre in 1993 in a production directed by none other than Harold Pinter, and starring David Suchet and Lia Williams. Mamet’s work certainly owes something to Pinter, with its spare, weaponised language and macho menace. Pinter said of Oleanna that “there can be no tougher or unflinching play”. Mamet also wrote and directed a film version of the play in 1994, with William H Macy and Debra Eisenstadt.
Note: This episode contains strong language.
Lucy Bailey’s wide ranging work as a director has comprised many acclaimed productions, including a number of Shakespeare plays at the Royal Shakespeare Company, the Globe, and the Theatre Royal Bath, the latter with a production of King Lear starring David Haig. Her renditions of Titus Andronicus and Macbeth at the Globe were both notorious and memorable for their powerful graphic imagery. Among her other credits, Lucy has also directed touring productions of Gaslight, The Graduate, Dial ‘M’ for Murder, and The Importance of Being Earnest.
On a different note, Lucy has a particular affinity for Agatha Christie. She has directed Love from a Stranger, and enjoyed both critical acclaim and huge popular success with her production of Witness for the Prosecution, which in a masterstroke she staged in the grand chamber of County Hall in London, a fitting setting for the classic courtroom drama.
And now, as if to emphasise her characteristic nerve and versatility she takes on the potentially contentious politics of Oleanna at the Theatre Royal Bath.
If you are interested in buying the play text or other related books, we’d be delighted if you choose to purchase them by following the links below. We will earn a small commission on every book you purchase, which helps to keep the podcast going. Through our selected partners Bookshop.org and Blackwell’s you will also be supporting independent bookshops. Thank you.
The Footnotes to our episode on Oleanna include a clue to the arcane title of the play, a reminder of one of the real-life sources of the play’s gender politics, and how the theatre may reflect our national sub-conscious.
Simon Stephens’s magical adaptation of Mark Haddon’s bestselling novel The Curious Incident of the Dog in the Night-Time has been a smash hit around the world, loved for its innovative theatrical form and for its unique hero, 15-year old Christopher Boone, who teaches us to see the world differently. As the play embarks on a nationwide UK tour, I’m delighted to talk with Simon.
Best of Enemies re-enacts the explosive TV debates between American political pundits Gore Vidal and William F Buckley from 1968, and in so doing turns the lens on the corrosive nature of political discourse in our media today. Playwright James Graham joins us to talk about his fascinating new play.
Macbeth is a tragedy of love, ambition and betrayal, propelled by relentless energy and shocking violence, and infused by an air of the supernatural. Professor Emma Smith from Hertford College, Oxford, joins us to explore Shakespeare’s notorious ‘Scottish play’.
Before the theatres went dark this month I was lucky enough to see Caryl Churchill’s A Number at the Bridge, and spend more than seven hours in thrall to Robert Lepage’s Seven Streams of the River Ota at the National. Plus, some thoughts on what we miss when there is no theatre.
Another great mix of shows this month, from Tom Stoppard’s new play, to Ibsen, Beckett and newer plays in smaller London venues.
The January roundup included both classic plays, such as The Duchess of Malfi, Uncle Vanya and Three Sisters, as well as recent musicals Dear Evan Hansen and Girl from the North Country …