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Rodgers and Hammerstein designed the ending to reduce you to tears, and they knew what they were doing. Resist, even at this excellent revival,and think about the conundrums of race, class and gender that that lie just beneath the surface.
As playwright Michael Weller intelligently conveys, except in the most empty marriages, no matter what the parties may have done to each other, there are still ties of love holding them together. In living through these crises, then, both forces, the centripetal and the centrifugal, must have a part. To the observer, it might seem laughably incoherent, but actually it is just the way things are at such moments.
These are small-timers, and what makes their souls as small as their business, I think, is America itself, a place where there is no state religion nor any religion or code of ethics at all which anyone is required to internalize. Here you are free to be a scheming psychopath while talking a blue streak; no one will stop you. And while Mamet is clearly pointing out how amusing people who do this can be, I do not see much evidence he thinks we can learn much from them; the encounter is all. Fortunately, it is enough.
The big reason for the audience’s enjoyment, however, is the performance of Nigel Reed as Barrymore, who absolutely inhabits the legendary old ham’s persona, grandiose and gross and catty and orotund. A strong physical resemblance to the man does not hurt either.
I lived in London and Vienna before coming to the United States, and grew up mainly in Ann Arbor. I was writing plays and stories as early as grade school. My undergraduate years at the University of Pennsylvania, where I first reviewed theater, for the college paper, were succeeded by graduate study at the Johns Hopkins University, where I earned a doctorate in English Literature.
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When you submit your email below, you'll receive emails from me with notificaitons of new theater reviews posted to this site, along with announcements about my plays, including my forthcoming book.