Through Sat 8/20

Blank Canvas  Theatre is serving up some 1984 Pulitzer Prize realness with its recent production of David Mamet’s Glengarry Glen Ross. This fascinating play examines two days in the office of salesmen that are selling less than valuable real estate to unsuspecting customers. The diverse salesmen have one thing in common – desperation. There goal is to earn a living on commissions, but being offered a Cadillac for first place, Steak Knives for second, and a big fuck you “you’re fired!” if you don’t cut it. Mamet got the idea for this play by his own experiences working in a similar office. Every successful actor can usually rattle off a list of not so glorious jobs that they had to work to achieve their dream.

D’Amico, McElhaney, Telford

The setting for Act One is a Chinese Restaurant, in which the following three scenes introduce us to six of the seven actors in the play, two at a time. The first scene features Shelly Levene (Darrell Starnik), an excellent salesman at one time, but now in a rut, and John Williamson (Daniel Scott Telford), the new office manager for the office that most of the salesmen think didn’t earn his position. Levene is trying to convince Williamson to give him some of the prime Glengarry leads, but Williamson will only deal in if Levene can pay cash on the barrelhead. The environment of the theatre itself comes into play with this scene, meaning the theatre fans are on full blast to help the audience not pass out, but that means the actors need to project. Starnick immediately has a problem because you can’t hear him. it’s a shame because he has a great look, and would definitely be a contender for the next most interesting man in the world. Can I get a Dos Equis up in here? By enhancing his volume it would also create more of a presence of desperation. Telford on the other hand is fine with volume, but reads a bit young for the office manager. However, he has a good grasp of where his character needs to be, and I ended up being ok with the age, because his characterization reminded me of the nephew who gets the job over people that have been working forever, therefore justifying everyone thinking he is a dick. Which for me, worked.

D’Amico, Telford

The second scene fines us watching two very adept actors in Jeff Glover (David Moss) and Chris D’Amico (George Aaronow), in fine form. Meeting at the same restaurant, Moss is trying to convince Aaronow to help him steal prime leads and sell them to a competitor. Glover gives Moss a sarcastic edge (big surprise to his friends) and a blustering calculating presence. D’Amico shows a fractured spineless man wrapped around a personae that reminds me of Sluggo. Both actors give very defined characterizations and enhance the evening.

Glover, D’Amico

The third scene finds us reveling in a kick ass performance by Daniel McElhaney as Richard Roma. He is focused, cunning, and somehow makes the word “slimey” sound like a compliment. His monologue is superb, as is his character. Although we see James Lingk ( Greg Mandryk) mostly from the back, he is so attuned to his character that his physicality and emotion still come through. I could understand that Roma was talking circles around this poor guy, tapping into the adventurous man he wants to be, but can’t follow through. That’s pretty damn good from behind.

I do applaud the pace of Act One, the program says 40 minutes, and just like the Olympic Gold Medalists, right on time.

Starnick, Telford

Act Two brings all of these characters together in a hot mess of greed, angst, confidence and weakness. The reason the stakes are higher is that a burglary has been committed, which sends everyone or edge, and suspicious. There are several actors that rise to the top of the actor pool here. McElhaney dominates the second half with relentless resolve to be the biggest slick-talking ass in the industry. During parts of his tirades and lying behaviour, you certainly don’t rule out punching the fucker in the face.

Glover continues to fire effectively. His showdown is one the wild west would applaud with vigor. He is so solid and focused, creating a beautiful performance. D’Amico is very consistent with his character’s angst and unfooted fears. This great performance should end with the audience giving him a group hug. Mandryk continues to develop and execute this dominated husband who wants to desperately to take a chance and fly, but finds himself tethered to the ground. Great work.

Starnik, Mandryk, McElhaney

Starnik is more developed , but there were some lines struggles, which will work itself out going forward. His Levene is less manic, and more of a tortured soul searching for the victory dance once again. This become more effective as his world crashes down, twice. Telford handles the office manager well, despite the lack of age and tension. He rises to the occasion when the clues deliver a fatal punch of realization. Dave Moody joins the group as Baylen, a police officer that has been called in to investigate the robbery. He is an effective presence to handle this lot.

Patrick Ciamacco (founder/artistic director/director/set & lighting designer) does an admirable job with this production. This is a good production, but it could have been a great production if the cast was performing and heard at the same level. Some classic tension was lacking due to understated or hard to hear performances. However, when the play kicks into high gear, it is a welcome and enjoyable dish to be served. And that dish is certainly worth taking a look. (This performance had Ciamacco filling in for stage manager Venchise Glenn. Amazing dedication to his theater.) Costume design by Jenniver Sparano was impeccable. The set worked great, and the lighting created just the right mood.

Overall, I give this 3.5 Mufasa’s out of 5

Tickets: $18 General Admission

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[Photography by Andy Dudik]

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