Oleanna

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The Classics Theatre Project

Oleanna

by David Mamet

My thoughts on Oleanna or…the boundaries of PC

David Mamet’s play is one that stays with you. It’s been fifteen years since I saw the play in New York, and one line of dialogue is forever burned into my psyche. I also remember the plot very well, but most of all I remember the visceral reaction of the audience with many people shouting at the characters in the final scene. That remains a unique experience in my play going life.

I understood their screams as this play builds in momentum and frustration until the breaking point comes. Whether that climactic scene satisfies you or troubles you will depend on your interpretation of what occurs previously in this exploration of power and gender in academia.

John is a professor on the threshold of receiving tenure. Carol, a student in his class, comes to his office claiming to be totally lost in the course and incapable of understanding anything. John offers her an A in the class if she will visit him in his office faithfully and let him instruct her. John is often condescending to Carol and interrupts her frequently. On one occasion he does put his arm around her. However, we never see anything more inappropriate than that occur.

When Carol files sexual harassment charges against him causing him to lose tenure and perhaps his academic career, we are left to wonder if she has been manipulating him all along egged on by her “group” as she calls them, who have formulated a list of unreasonable demands John must meet for her to drop the harassment claim.

Director April Miller directs this gripping, intense drama skillfully, letting the tension build almost as if it were a thriller. She is aided by the intimacy of the Stone Cottage venue where we are only a few feet from John and Carol on the well-designed set.

Robert San Juan is excellent as John the professor caught up in this situation that he truly does not understand. At first, John comes across as insensitive and rude and almost pretentiously verbose and academic. However, as the play progresses, San Juan’s John becomes incredulous and then indignant, and I don’t think I’ve ever seen an actor portray seething anger this well before.

Devon Rose, the very picture of a young, confused coed as Carol, at first wins our sympathy, but she does not hold on to it for long. As the power in the relationship starts to shift, Rose’s Carol comes across as more of a master manipulator than a student over her head academically. This a terrific performance and we believe that Carol is convinced that John is guilty. Or do we?

The Classics Theatre Project’s production of Oleanna is a tautly directed, engrossing drama with two sensational actors bringing their A game. Oh, by the way, that line that has stayed with me for fifteen years is, ‘Don’t call your wife baby!”