Race
Ene 2011 · Theatre Communications Group
5.0star
2 reviewreport
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“Intellectually salacious…Deep in its gut, Mamet’s gripping play argues everything in America is still about race.” –Chris Jones, Chicago Tribune
“Tasty dialogue, spiky confrontations and more than occasionally biting observations…RACE riffs artfully on the subtleties of discrimination and guilt, resentment and shame, and its ambiguities appear designed to stir audiences into testy debates.” –David Rooney, Variety
“Edgily compelling…Few writers can grip an audience like David Mamet. He tackles urgent themes head on, and often writes with the brutality of a sawn-off shotgun held at the spectator’s head.” –Telegraph (UK)
“Fascinating and dramatically charged, Mamet’s provocative, hot-topic play is anything but simple. The questions and answers posed add up to an intriguing study of perception.” –Michael Kuchwara, Associated Press
When a rich white man is accused of raping a younger African American woman, he looks to a multicultural law firm for his defense. But even as his lawyers—one of them white, another black— begin to strategize, they must confront their own biases and assumptions about race relations in America.
“Tasty dialogue, spiky confrontations and more than occasionally biting observations…RACE riffs artfully on the subtleties of discrimination and guilt, resentment and shame, and its ambiguities appear designed to stir audiences into testy debates.” –David Rooney, Variety
“Edgily compelling…Few writers can grip an audience like David Mamet. He tackles urgent themes head on, and often writes with the brutality of a sawn-off shotgun held at the spectator’s head.” –Telegraph (UK)
“Fascinating and dramatically charged, Mamet’s provocative, hot-topic play is anything but simple. The questions and answers posed add up to an intriguing study of perception.” –Michael Kuchwara, Associated Press
When a rich white man is accused of raping a younger African American woman, he looks to a multicultural law firm for his defense. But even as his lawyers—one of them white, another black— begin to strategize, they must confront their own biases and assumptions about race relations in America.
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David Mamet, November 30, 1947 - David Mamet was born on November 30, 1947 in Flossmoor, Illinois. He attended Goddard College in Vermont and the Neighborhood Playhouse School of Theater in New York. He began his career as an actor and a director, but soon turned to playwriting. He won acclaim in 1976 with three Off-Broadway plays, "The Duck Variations," "Sexual Perversity in Chicago" and "American Buffalo." His work became known for it's strong male characters and the description of the decline of morality in the world. In 1984, Mamet received the Pulitzer Prize in Literature for his play, "Glengarry Glen Ross." In 1981, before he received the Pulitzer, Mamet tried his hand at screenwriting. he started by adapting "The Postman Always Rings Twice," and then adapting his own "Glengarry Glen Ross" as well as writing "The Untouchables" and Wag the Dog." He also taught at Goddard College, Yale Drama School and New York University. Mamet won the Jefferson Award in 1974, the Obie Award in 1976 and 1983, the New York Drama Critics Circle Award in 1977 and 1984, the Outer Circle Award in 1978, the Society of West End Theater Award in 1983, The Pulitzer Prize in 1984, The Dramatists Guild Hall-Warriner Award in 1984, and American Academy Award in 1986 and a Tony Award in 1987. He is considered to be one of the greatest artists in his field.
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