“Superb performances that searingly delve into murky issues. Fearful, dangerous, strength and clarity. Exquisite depiction by cast and creative team.”
Long before the “Me Too’ movement gained its recent traction, David Mamet’s ‘Oleanna’ searingly delves into the murky issues of power, misogyny, sexual abuse and political correctness.
As guest programming at Tarragon Theatre, Icarus Theatre presents a tortured rendition driven by superb performances from Star Slade as Carol and Aris Athanasopoulos as John. Anthony Goncharov, as director (and artistic director for Icarus Theatre), moves the horror along with fiendish detail and careful timing.
As a university professor, John meets with a timid and confused female student who is searching for answers about her poor grades and her poor understanding of John’s convoluted lectures. At first, he practically dismisses her problems as his telephone continues to ring with legal and marital issues on the other end of the line.
The vulnerable young student continues to press, raising questions about the hypocrisy of his lectures as he philosophically suggests that higher education is not necessarily for everyone. John begins to understand that this young woman and her biting questions will not be dismissed easily, and he darkly softens and offers her questionable olive branches such as inflated marks and continued meetings in his office.
The audience silently squirms as John stops her from leaving and presses himself into her, using the mawkish mantra “I like you.” The scene ends somewhere between discomfort and horror.
This opening scene is driven by staccato dialogue delivered with strength and clarity by Slade and Athanasopoulos. The rapid-fire questions and answers overlap and often become nonsensical. Athanasopoulos is brewing deeply, trying to cover his fear of a tenure committee and of a real estate deal that is clearly tenuous.
Slade’s economy of emotion makes her a fearful combatant. She sits with an overpronounced straight back until she feels some upper hand and then sinks to the back of the chair, gaining emotional momentum.
Upon their second meeting, Carol is more confident to the extent that she announces awkward allegations she has delivered to the tenure committee. John is clearly terrified, but tries to belie his fear and, as usual, tries to banter his way to some agreement. He dreads her little notebook that contains big, ugly prospects. She declares sexist comments, unwanted touching and the hypocrisy as mentioned above.
The third meeting is the most dangerous. Athanasopoulos finely rolls up the emotional intensity in painstaking increments. His job and marriage in jeopardy, he explodes at demands from Carol that include the banning of his own book. The shocking ending leaves the audience in silence.
The murky issues mentioned create a pall over the entire play. A final blast from Carol is “don’t call her baby,” and John erupts at her interference with his wife.
Some of Mamet’s early dialogue seems repetitive and obscure, but perhaps he was developing the madness that slowly builds.
Erick Richards’ sound design was jarring and murderous, wholly suitable to the horrors that build.
Bharat N Vyas’ set design was simple and functional. Translucent plastic panels covered the office sitting area and became opaque during some of the physical confrontations. This was questionable in that there seemed to be no reason to even partly hide the assaults.
The constant telephone interruption was brilliant. It seemed to be John’s conscience breaking in on his power efforts against Carol. Athanasopoulos’ skill with the one-sided conversations reminds us of Bob Newhart (without the humour).
The definition of sexual abuse is the elephant in the room. John does not understand that even his furtive advances are criminal – abuse is abuse, and this play makes it clear.
In the director’s notes, he raises the question of taking sides with one or the other combatants. This is a hot question that can be left for individual audience members. What is clear is Mamet’s alarming and abhorring tale and its exquisite depiction by both cast and creative team.
‘Oleanna” by David Mamet
Performers: Star Slade, Aris Athanasopoulos
Director: Anthony Goncharov
Sound design: Erik Richards
Set design: Bharat N Vyas
Costume design: Emily Anne Corcoran
Production runs through August 30, 2025.
Tickets: tarragontheatre.com
