Displaying items by tag: David Mamet

“Henry Johnson,” David Mamet’s new play running at the vintage Biograph Theatre, is like many of his works, enigmatic and demanding of his audience. With Mamet one must pay close attention to the dialog, packed with foreshadowing and reveals. Miss a line or even a word, and you’ll miss out.

This focus on the dialog is the essence of what Mamet’s works are about - plumbing the interior workings of the characters, as they face their lives. It also allows Mamet to examine in depth the forces at play in any human interaction, which in my take the playwright sees as transactional.

Expectations were clearly high for the Midwest premier of “Henry Johnson” by the Pulitzer winning Chicago playwright (“Glengarry Glen Ross,” “American Buffalo”) and screenwriter (“The Untouchables,” “Hoffa,” “The Postman Always Rings Twice”).

The biggest letters are Mamet’s name on the marquee at the Biograph. This is Victory Gardens Theater's home, where it is celebrating 50 years with this show. Its legendary founder, Dennis Zacek, takes executive producer credits on the production.

The promise of a rare new stage work by Mamet (as well as its planned release this summer as a film starring Shia LeBoeuf) drew a strong team of pros as well:
Directed by Edward Torres (co-founder of Teatro Vista), it stars Thomas Gibson (TV’s “Criminal Minds”), Keith Kupferer (“Ghostlight”) as a prison guard, Al'Jaleel McGhee (“A Soldier’s Play” Broadway tour) as Mr. Barnes and “Chicago PD” character Daniil Krimer as Henry.

“Henry Johnson” has what people come to David Mamet for - the thinking script, the demands on audiences to fill in the dots, the mystery, the unexpected reversals. For me, what is most intriguing about “Henry Johnson” is how Mamet explores a character, Henry, a beta male who is readily susceptible to being dominated by alpha male personalities.

It opens as Mr. Barnes, Henry’s boss, questions him on his unusual request: to find a job for a parolee that Henry once knew in college. McGhee’s Barnes digs into Henry’s motivation, asking him “What attracted you?” Henry’s answer: “He had this power over women,” relating how he could pick up women in bars and go home with them easily.

Barnes is hard driving, suggesting to Henry that he is under the spell of this one-time college buddy (who never appears in the play), now a convicted felon. Barnes gets Henry to state he is not physically attracted to this guy, just under his thumb.

Henry can accuretly relate back to Barnes his assessment of him - that Henry is putting the welfare of a past friend ahead of the interests of the company. Henry can hear it, but presumably he is so much in thrall to this “friend” he cannot be persuaded to discard him.

“You saw him after college?” Barnes asks.
Henry: “Before he went to prison.”
Barnes: “He was grooming you.”

The unseen friend was also a steady winner in card games, inexplicably lucky. Barnes ventures that the other men, also dominated by the friend’s charisma, let him win. “They were paying him rent.” In my experience, this is really how the dynamics of unhealthy male social hierarchy can work. When Barnes asks what he thought about his friend’s conviction, Henry replies, “I had no opinion. I thought it was my responsibility to have no opinion.”

In an abrupt change of scene, we now find Henry newly arrived at a prison cell - Barnes caught him embezzling, presumably for this unseen friend, and the audience must conclude he’s been convicted. Henry’s cellmate, Gene (Thomas Gibson) digs into Henry enough to determine his untoward fealty to his friend. Then he lectures him continuously, and Henry offers only desultory replies. As with Barnes, Henry is able to relate back to Gene, “You think my interest {in him] is an addiction.”

The setting shifts to the prison library, and the guard in charge is played by Kupferer. And then finally, a climactic scene, also in the prison library, where Mamet ties up the story for us, in a shocking end..

True to Mamet, the dialog doesn’t lead us through a plot - but an examination of where the characters are emotionally at key points along a timeline. Abrupt shifts in the setting are unexplained - Mamet expects us to figure it out, and we like him for that - but he’s not giving much to go on in each quadrant of the play: an inquiry in an office; a prison cell; a prison library; and a closing setting that spoiler concerns will leave undescribed.

The script seems less a play, than an extended treatment for a screenplay. The dialog  is less compelling than Mamet’s signature works, which take a lot of rehearsal to refine the playwright’s intended cadences. Kupferer and McGhee come closest to getting this down. With all that, it’s Mamet, and so “Henry Johnson” comes highly recommended. It runs through May 4 at Victory Gardens Theater.

Victory Gardens Theater, in association with Relentless Theatre Group, will present the Midwest premiere of a new work by Pulitzer Prize-winner, filmmaker and former Chicago-based playwright David Mamet, "Henry Johnson." Presented in celebration of the 50th anniversary of the founding of Victory Gardens, the production will be directed by Joseph Jefferson Award-winner Edward Torres (Co-founder and Artistic Director Emeritus at Teatro Vista) and will star acclaimed actors Thomas Gibson (TV's "Criminal Minds"), Keith Kupferer ("Ghostlight") Al'Jaleel McGhee and Daniil Krimer. Dennis Zacek, the Founder and Artistic Director Emeritus at Victory Gardens Theater, who led the company to receive a 2001 Tony Award for excellence in regional theater, will serve as Executive Producer.

The press performance will be Sunday, April 14 at 3 p.m.

"Henry Johnson," which is being produced for the first time since its world premiere in Los Angeles in 2023, delves into the themes of manipulation and ethical ambiguity. The story follows Henry Johnson, a middle-aged man, as he navigates a series of encounters, both in the corporate world and in prison. As the play progresses, audiences are prompted to wonder: "What is the price of compassion?" 

The production features a lighting design by Jared Gooding, costumes by Stephanie Cluggish, set design by CODESIGN STUDIOS, props by Jeff Brain and fight choreography by David Woolley.

Tickets, which range in price from $64-69, will go on sale today, March 7 at 10 a.m. at victorygardens.stagey.net/projects/12019. The performance schedule is Wednesdays, Thursdays and Fridays at 7 p.m. Saturdays at 3 and 7:30 p.m. and Sundays at 3 p.m. There will be no performances April 18 – 20.

David Mamet (Playwright)

Chicago-born David Mamet is the author of numerous critically acclaimed, award-winning plays including "American Buffalo," "Speed the Plow," and "Glengarry Glen Ross," for which he was awarded the Pulitzer Prize for drama in 1984.

His films include "The Postman Always Rings Twice," "Wag the Dog," "The Verdict," " Hoffa," "Ronin," "The Untouchables," "House of Games" (writer/director), "Oleanna" (writer/director), (writer/director), "Homicide" (writer/director), "The Spanish Prisoner" (writer/director), "State and Main" (writer/director), "Heist" (writer/director), "Spartan" (writer/director) and "Redbelt" (writer/director). His most recent books are "True and False," "Three Uses of the Knife," "The Wicked Son," "Bambi vs. Godzilla," "The Secret Knowledge," "Chicago" "The Diary of a Porn Star," "Recessional: On the Death of Free Speech and the Cost of a Free Lunch,"  and the upcoming "The Disenlightenment: Politics, Horror, and Entertainment." He directed the world premieres of his most recent plays, "Bitter Wheat," starring John Malkovich, on the West End in 2019, and The Christopher Boy's "Communion" at the Odyssey Theatre in Los Angeles in February 2020. He recently wrote and directed the film "Henry Johnson," available soon at HenryJohnsonMovie.com.

Edward Torres (Director)

Edward Torres is a director and performer whose work has been seen on stages across the country. As an actor, he most recently appeared in Bruce Norris's "Downstate" at Playwrights Horizons, following acclaimed productions at the National Theatre in London and Steppenwolf Theatre Company.  He also received a Lucille Lortel nomination for Featured Outstanding Performance 2023 for his role in Downstate

As a director, Edward has led productions at The Old Globe, including "El Borracho," "Familiar," "Native Gardens" and "Water by the Spoonful." He was named one of The Old Globe's Classical Directing Fellows in 2021 and directed the podcast adaptation of "Macbeth" for NEXT Chapter Podcasts and Play On Shakespeare. He helmed the world premiere of Kristoffer Diaz's "The Elaborate Entrance of Chad Deity" at Victory Gardens Theater and Teatro Vista, a production that was named Best Play of 2009 by the Chicago Tribune and won five Joseph Jefferson Awards, including Best Production and Best Director.

Torres has also directed at several other prominent theaters, including Geffen Playhouse, Second Stage Theatre, Goodman Theatre, The Public Theater and Repertorio Español. His work has earned him accolades such as the Latin ACE Award for Best Musical and the Artistas de Teatro Independiente Award for Best Director. He is an associate Professor at University of Illinois -Chicago and serves as Artistic Director Emeritus at Teatro Vista

Thomas Gibson  (Gene)

Thomas Gibson hails from Charleston, South Carolina. At a young age, Thomas became interested in theater, and later moved to NY to become a member of Group 14 at Juilliard's Drama Division.

He has worked extensively on stage in NY, including Shakespeare in the Park, Molière and Noel Coward on Broadway, as well as last year's premiere of Ibsen's "Ghost" by Charles Busch at Primary Stages. Thomas has also created roles in premieres by Romulus Linney, Anna Cascio, David Hare, and Howard Brenton, among others.

Thomas' work in films and television includes the beloved "Tales of the City" series, as well as Kubrick's "Eyes Wide Shut," Whit Stillman's "Barcelona," Scorcese's "Age of Innocence," as well as "Love and Human Remains" and "Stardom," both with Denys Arcand. He starred with Jenna Elfman in "Dharma and Greg," for which he was twice nominated for a Golden Globe. He is also known for playing Aaron Hotchner on the series "Criminal Minds." Thomas is an accomplished director both in the theater and on television, and recently produced and starred in "The Writer's Bible," a short film which he co-wrote with his son, JP, and which JP directed and produced.

Keith Kupferer (Jerry)

Keith Kupferer delivered a widely praised, powerhouse performance in "Ghostlight," directed by Alex Thompson and Kelly O'Sullivan, which premiered to critical acclaim at Sundance in 2024 and was later released nationwide by IFC Films. His work in the film earned him multiple prestigious end-of-year nominations, including recognition from the Gothams and Independent Spirit Awards. He was awarded Best Actor in a Comedy by the Satellite Awards and named the "2025 Chicagoan of the Year in Film" by the Chicago Tribune.

A veteran of Chicago's theater scene, Kupferer has performed at many of the city's most esteemed institutions, including Steppenwolf, Goodman Theatre, Victory Gardens, Writers Theatre, Lookingglass Theatre, Northlight Theatre, A Red Orchid and Chicago Shakespeare Theater. A founding member of Rivendell Theatre Ensemble—now celebrating its 30th anniversary—he has starred in critically acclaimed productions such as "A Mile in the Dark," "The Cake," "American Wee-Pie" and "Cal in Camo" (for which he won a Jeff Award for Supporting Actor). His other notable credits include "Support Group for Men," "God of Carnage" and "Sweat" (Goodman); "The Seagull," "The Great Leap," "The Qualms," "Good People" and "Middletown" (Steppenwolf); "Hillary and Clinton," "Never the Sinner" and "Appropriate" (Victory Gardens); "West Side Story" (Lyric Opera) and the world premiere of "The Humans" (American Theater Company).  He has also appeared in numerous films and television shows.

Al'Jaleel McGhee (Mr. Barnes)

Al'Jaleel McGhee is a dynamic actor whose work spans stage and screen. He recently toured nationally with the Broadway production of "A Soldier's Play" and has performed extensively in Chicago's top theaters. His credits include "Noises Off" at Steppenwolf, "Intimate Apparel" and "Fireflies" at Northlight Theatre, "Hamlet" at Chicago Shakespeare Theater, "Graveyard Shift" at the Goodman Theatre's New Stages Festival, "Paradise Blue" at TimeLine Theatre, and "Blues for an Alabama Sky" at Court Theatre.

Beyond Chicago, Al'Jaleel has appeared in regional productions such as "Noises Off" at the Geffen Playhouse and "Toni Stone" at the Huntington Theatre. On screen, he can currently be seen in "Lady in the Lake" and "Shining Girls" (Apple TV+), "61st Street" (AMC), and "POWER Book IV: FORCE" (Starz).

Al'Jaleel holds an MFA from Northwestern University and studied at the University of Illinois Chicago and North Carolina Central University. He is represented by Gray Talent Group.

Daniil Krimer (Henry Johnson)

Daniil Krimer is an actor and theatermaker whose work spans stage and screen. In New York, he appeared in "Really Really" with Normal Ave Productions. His regional credits include "Sherlock Holmes" at West Virginia Public Theatre, while in Chicago he has performed in "Romeo and Juliet" and "Twelfth Night" at Kane Repertory Theatre.

On television, Daniil has been seen in "FBI" and "Chicago P.D." He holds an MFA in Acting from Northern Illinois University and is the co-founder and former Artistic Director of Kane Repertory Theatre. He is grateful to David Mamet for the opportunity to bring his work to his hometown and to his family for their unwavering support.

About Dennis Zacek

Dennis Zacek is Artistic Director Emeritus of Victory Gardens Theater where he held the position of Artistic Director for 34 years. He, his wife Marcelle McVay, and Sandy
Shinner accepted Victory Gardens' 2001 Tony Award for Outstanding Regional Theatre.

He also accepted the Actors Equity Association (AEA) Spirit Recognition Award on
behalf of Victory Gardens. The Spirit Award is given to institutions that "have made
nontraditional casting a way of life." Among other awards are a Jeff Award for
Outstanding Achievement in Chicago Equity Theatre, an Artistic Leadership Award from the League of Chicago Theatres, the Rosetta Lenoire Award from AEA and the Sidney R. Yates Arts Advocacy Award from the Illinois Arts Alliance (now Arts Alliance Illinois). Zacek is Professor Emeritus at Loyola University and was included on Utne Reader's list of "Artists Who Will Shake the World." Currently he works at The Studios of Key West as a teacher during the winter. He has directed more than 250 productions in his career.

About Relentless Theatre

Relentless Theatre Group believes great theater challenges the mind. Our mission is to offer a theatrical home for public discourse, freedom of expression, and brilliant creation.

About Victory Gardens Theater

The Victory Gardens Theater, established in 1974, stands as a beacon of innovation and artistry in the theater community. With a record of producing more world and Chicago premieres, collaborating with more living playwrights, and exporting new plays for production elsewhere than any other theater in the region, we are proud to lead the way in the evolution of contemporary theater. Our mission is to cultivate and present powerful, new works that capture the diverse narratives of our world, enriching the American theater landscape. Through our productions, we ignite important conversations that drive meaningful civic change and foster an inclusive theater experience that invites everyone to partake.

Our achievements over the past 50 years were recognized in 2001 when we received the prestigious Tony Award® for Outstanding Regional Theatre at New York's Radio City Music Hall. This esteemed award honors our unwavering commitment to artistic excellence and our significant contribution to the growth of theater on a national scale. As we celebrate our past, we look forward with determination to the next 50 years, remaining steadfast in our values of integrity, diversity, innovation, and excellence. Together, we will continue to inspire and transform the theater experience for audiences everywhere. Please visit victorygardens.org/mission-history to learn more about our history or victorygardens.org/donate/ to donate to our cause.

After thirty years of bringing Chicagoans some of the city’s finest theatre, Mary-Arrchie will be closing their doors after its current and final production, American Buffalo. In this sharply written piece by David Mamet, Mary-Arrchie co-founder and jack of all trades Richard Cotovsky is joined by Stephen Walker and Rudy Galvan, creating a strong cast fully capable of pulling off such a dynamically written script. And that’s exactly what they do.

Taking place in a rundown resale shop, owner Don (Cotovsky) along with his young hired help and “go-fer” Bobby (Galvan) have hatched a scheme to burglarize a nearby residence in the hopes of stealing a valuable coin collection. But when Don’s longtime pal Teach (Stephen Walker) gets wind of the “thing” he pushes to replace the kid with himself, a man of more experience. Everything happens in a single day as the three small time crook wannabees run through a gamut of emotions with each other in trying to get on the same page. Teach is pushy and talks the big talk but clearly has little experience while Don is more laid back and subdued, often influenced by Teach’s strong presence and facade of confidence. Slow-witted Bobby just wants in for some quick bankroll – or maybe just wants to be a part of something. As the plan progresses it snowballs back and forth until its inevitable unraveling – and the journey is nothing short of hilarious.

When entering the theatre, we are met with what appears to be an authentic resale shop. “Don’s Resale Shop” is printed backwards on the large picture window so as to face correctly for those to read on the outside. Worn shelves are filled with dented gas cans, ratty knickknacks, old toys and assorted vintage items. Power chords hang from the wall with other random merchandise for sale behind a battered counter that supports an antique cash register. Quickly immersed in the set’s genuineness, one really gets the feeling they are inside a dingy thrift store that could be located on any given Chicago street.    

Richly directed by Carlo Lorenzo Garcia, Mary-Arrchie’s American Buffalo offers incredibly talented performances, generally a given with this veteran theatre company. Delivering Mamet’s cutting and quick-fire dialogue with the true essence of how it was intended, Walker knock’s the role of Teach out of the park. Whether generating laughs with the simplest use of body language, convincingly overusing repetitive hood lingo or completely erupting like Mount Saint Helen, Walker rolls up his sleeves and puts forth a gutsy, no-holds barred performance that should long be remembered. All the while, Walker successfully displays his character’s vulnerability beneath the blanket of false self-assurance, making Teach believable, creating someone with whom we can really emphasize. Within moments of Walker’s first appearance where he loses his cool and takes out his frustrations out on a beat up refrigerator over something pretty insignificant, it is apparent we are about to take a pretty bumpy ride. 

Cotovsky, the seasoned pro that he is, also provides an outstanding performance going toe-to-toe with Walker on many heated, sometimes humorously nonsensical and profoundly funny dialogue exchanges. The two pair together like butter on toast, getting a nice occasional boost from Galvan who contributes many of his own well-timed lines. Like a freight train taking off, the production gets stronger and stronger as it progresses. The more we get to know the characters the more we can’t help but take a liking to each of them, regardless of the fact that they are small-time crooks bent on pulling off a caper that comically unstitches more and more the closer the job gets. 

Mary-Arrchie is going out on a high note with this must-see presentation of American Buffalo. The prestigious Chicago theatre company will certainly be missed and we can only hope to continue to see its talented players in future productions around the city. Jeff Award winner, Chicago theatre staple and all-around talent Richard Cotovsky was recently given the honor of having an Honorary Way dedicated in his name that can be seen at the theatre’s intersection of Sheridan and Broadway. An honor well deserved.

American Buffalo is playing at Angel Island (735 W. Sheridan) through March 6th. Honest, funny and thoroughly absorbing, it is with strong recommendation that I urge theatre lovers to catch this final production from this talented company in their apropos farewell. For tickets and/or more show information visit www.maryarrchie.com or call 773-871-0442.