Wow--what a great play. Totally makes up for yesterday's Miller disappointment (sounds as if I've had a bad beer, or something). Mamet has such a distinct style, and such a corner on the American voice. I don't know how else to describe it--it's some meld of desperation and undying hope, and an overwhelming need for respect or peace or love, from characters who don't know how to ask for it in a nice way. That lack of eloquence, and the lack of any shame that comes with it, is just so wonderful to hear.
I've enjoyed Mamet since I had to read Oleanna in my Modern Drama class in high school. I have always been attracted to voices of male writers that don't talk about nice things in "ugly" or unconventional ways: Irvine Welsh, Bret Easton Ellis, Bukowski, etc. Don't know why, but I have always better identified with those voices than I ever did with any female writer I've perused (however, I am, again, woefully under read, so that may be why...). And Mamet appeals to that angry young man I have inside me, I suppose.
Favorite moment while reading the play: Realizing this was where "Action talks and bullshit walks" comes from. My father says that sometimes, and I don't think he knows it comes from a play. Maybe if he did, he'd go to the theatre more! It's the little things...
Monologue: No luck, as there are no women in this play. It's alright, though--it was so good, that it doesn't matter, and I've already filled my quota for the week anyway.