Glengarry Glen Ross

No pain, no gain. The old motto finally gets its due in David Mamet’s GLENGARRY GLEN ROSS. Like vultures, these salesmen prey on the unhappiness of others, coercing innocent people into giving away their money for empty promises.

As directed here by Joe Mantello it’s a tragedy that’s too funny to behold and it’s all about character, the slimiest, most reptilian, and weakest kinds of characters. Still, they are portrayed here with such vulnerability that they’re almost like children.

There’s Liev Schrieber for one, as Richard Roma he’s mastered the trick of walking into the hearts of his fellow man. Roma is a real buddy, a fastidious, well groomed and matter of fact guy who knows how to protect himself from the ruthless tactics in this boiler room. Throwing his weight around and curling his fingers into his hands while he juts them in front of his chest, he drives the action into a heady confrontation. Schreiber is a catalyst of intense energy in this ensemble which includes Alan Alda’s over the hill salesman with a big mouth and Frederick Weller’s cheap, opportunistic manager. They’re joined by Gordon Clapp as the vengeful looser and Jeffrey Tambor as the poor shmuck who just can’t make a sale.

Tom Wopat is the even poorer schmuck for listening to this sales pitch. It’s he who Richard Roma approaches at a Chinese restaurant, painted blood red with gold dragons by designer Santo Loquasto. Unfortunately, this scene at the end of Act I seems slow and aimless, but when these sales pros strut their stuff with each other, the action takes on a life of its own. Of course, the ride there involves a roller coaster of expletives, the same 4-letter words over and over, erupting into a brutal self destructive reality.

It’s a relief though to watch real closers at the game of selling.

That’s This Week on Broadway. I’m Isa Goldberg.