Saturday, January 29, 2011
More from IDS: Glengarry Glen Ross
In their second season, IDS hurled itself wholeheartedly into the grownup indie theatre scene, raising audition standards and expanding their resources. By the time The Shape of Things went up in the Factory Theatre, the company had managed to pull itself up to professional standards without losing the edgy passion of its founding principles (it had also held onto its best talents while expanding the acting pool). This fall's Romeo and Juliet made those truths all the more clear. A young but uniformly talented company pulled off a demanding production that not only embraced the company's desperate passion but actually celebrated it with a relatively low budget romp of good fun with great actors.
Read on for our review of the production
From the simple but effective lighting design to the detailed set dressing IDS's Glengarry was spot-on. But as well-executed as the technical and directorial sides of the show were, it was the performances that really stood out. The cast tackled the text brilliantly. In their hands, Mamet's demanding dialogue (somehow both highly stylized and uniquely realistic) landed perfectly. There was a point late in the first act when Roma made a grand statement, a moment later both he and a fresh-eared audience member simultaneously responded with a thoughtful "huh". It's that sort of "right there with you" reactionary instinct that these actors excelled at bringing out in their audience.
The Independent Drama Society's production of Glengarry Glen Ross was simply terrific. The whole cast (not just the two standout performers I mentioned but all of them) was extraordinary and the piece was expertly directed by Brett Marks. It made me take IDS more seriously than I'd ever thought to before and made a confirmed Mamet fan out of me. I'd say that's a win.