Oleanna

Reviewed by Joseph Klink
The Zephyr Theatre
HDFF ‘23 – Through June 25

RECOMMENDED

The Hollywood Fringe Festival has arrived. While most audiences are anticipating new works, longtime theatergoers may immediately recognize Oleanna, David Mamet’s polarizing play, now being presented at the Zephyr Theatre on Melrose

A two-character drama depicting a power struggle between a university professor and his female student, this one is perhaps more relevant today than when it premiered. Oleanna first opened in May 1992, premiering at Mamet’s new Back Bay Theater Company where it starred William H. Macy and Rebecca Pidgeon. At the time, this play was understood to be a direct response to the Anita Hill–Clarence Thomas controversy, which divided the nation and sparked conversations over workplace behavior that were long overdue.

Act I begins with Carol (Claire Wagner) waiting in her professor’s office while he finishes a phone call. She is there to seek help and express her concerns about not understanding the course material, despite her greatest efforts. John (Jean-Michel Richaud) is tied up on the phone. He is about to be granted tenure, and as a result has taken on buying a new house with his wife. John attempts to understand Carol’s confusion but is often distracted by phone calls regarding the acquisition. We get the impression that he was on his way out and that his wife expects him, but he ultimately chooses to stay in the office with Carol.

From this point, the conversation begins to derail and takes different forms. The two fail to understand each other, for whereas Carol tries to make sense of John’s statements and philosophy, he begins to take liberties with his language, status and power. In the interest of helping her (he says), he expresses a willingness to make exceptions because “he likes her” — in addition to requesting that she visit him a few more times in his office.

Come Act II and through Act III, Carol has filed a complaint with the university over John’s inappropriate behavior. His position, and his house, are now at risk. He requests to meet with her a second and third time, each time more surprising after the events that precede it. He cannot understand. Their conversations become increasingly heated and they both respond in ways that we may not have anticipated. This energy gets out of control and results in extreme emotion and violence, sealing John’s fate.

This play is contentious. Gender and sex-related injustices, discrimination, abuse and manipulation were all rampant in the 90s, and well before. (The way we discuss and address these issues now are very different.) Audiences coming to see this production may question John being alone in his office with a young female student from the very start. In Act 1  John undoubtedly wants to help — he is intrigued, motivated, and probably enjoys the challenge.  But it is difficult to understand his intentions because we do not actually know him — we do not know whether or not we should trust him nor to what end. Later, it is his actions in the second and third acts that supersede any assumptions of good will made in the first. Whatever our judgment, Richaud plays this character in a deeply compelling manner. I wanted to trust John. So did Carol.

Claire Wagner’s performance is mesmerizing. We watch her develop a stronger sense of self, emboldened by support and being heard, and seen (far from the male gaze) in a way she had not been previously. Miguel Perez’s direction is careful and grounded and welcomingly open to interpretation.

Yet, questions about Mamet’s storytelling remain. Why is it that both characters are written so that neither has total credibility? It is as if once Carol takes her stance and gains independence, Mamet turns on her: He does not want to write her as a hero and makes a point of saying “there’s always two sides.” So, while this is a well-executed production, the intent of the work itself should be challenged by modern audiences. The conversation has only just begun when the curtain falls.

The Zephyr Theatre), 7456 Melrose Avenue, Hollywood. Wed., June 14, 8:30 pm, Sun., June 18, 5:45 pm, Sat., June 24, 12 pm, Sun. June 25, 3:15 pm. https://www.hollywoodfringe.org/projects/9520 Running time: 80 minutes with no intermission