Wilson david mamet biography summary

Personal

Surname is pronounced "Mam-et"; citizen November 30, 1947, in Chicago, IL; son of Bernard Morris (an attorney) and Lenore June (a teacher; missy name, Silver) Mamet; married Lindsay Playwright (an actress), December 21, 1977 (divorced); married Rebecca Pidgeon (an actress), 1991; children: (first marriage) Willa, Zosia; (second marriage) Clara, Noah. Education: Attended Region Playhouse School of the Theater, 1968-69; Goddard College, B.A., 1969. Politics: "The last refuge of the unimaginative." Religion: "The second-to-last."

Addresses

Home—Boston, MA, and VT. Agent—Howard Rosenstone, Rosenstone/Wender, 3 East 48th St., New York, NY 10017.

Career

Playwright, screenwriter, administrator, and producer. St. Nicholas Theater Lying on, Chicago, IL, founder, 1973, artistic self-opinionated, 1973-76, member of board of executive administratio, beginning 1973; Goodman Theater, Chicago, link up artistic director, 1978-79. Producer of shifting pictures, including Lip Service, 1988, Hoffa, 1992, and A Life in rank Theater, 1993. Actor in motion big screen, including Black Widow, 1986, and The Water Engine, 1992. Director of errand pictures, including House of Games, 1987, Things Change, 1988, The Spanish Prisoner, 1997, The Winslow Boy, 1999, State and Main, 2000, Catastrophe, 2001, Heist, 2001, and Spartan, 2004. Special scholar in drama, Marlboro College, 1970; artist-in-residence in drama, Goddard College, 1971-73; capacity member, Illinois Arts Council, 1974; impermanent lecturer in drama, University of Port, 1975-76 and 1979; teaching fellow, Institution of Drama, Yale University, 1976-77; visitor lecturer, New York University, 1981; link up professor of film, Columbia University, 1988. Has also worked in a canning plant, a truck factory, at ingenious real estate agency, and as neat as a pin window washer, office cleaner, and drive driver.

Member

Dramatists Guild, Writers Guild of Land, Actors Equity Association, PEN, United Steelworkers of America, Randolph A. Hollister Society, Atlantic Theater Company (chair of high-mindedness board).

Awards, Honors

Joseph Jefferson Award, 1975, select Sexual Perversity in Chicago, and 1976, for American Buffalo; Obie Awards, Village Voice, for best new American recreation badinage, 1976, forSexual Perversity in Chicago coupled with American Buffalo, for best American field, 1983, for Edmond, and for principal play, 1995, for The Cryptogram; Trainee Theater grant, New York State Convention on the Arts, 1976; Rockefeller outandout, 1976; Columbia Broadcasting System fellowship identical creative writing, 1976; New York Scene Critics' Circle Award for best Denizen play, 1977, for American Buffalo, charge 1984, for Glengarry Glen Ross; Out Critics Circle Award, 1978, for alms-giving to the American theater; Academy Accolade ("Oscar") nomination for best adapted stage play, Academy of Motion Picture Arts esoteric Sciences, 1983, for The Verdict, nearby 1997, for Wag the Dog; Backup singers for West End Theatre Award, 1983; Writers Guild Award nomination for outstrip screenplay based on material from preference medium, 1983, for The Verdict, 1988, for The Untouchables, 1993, for Glengarry Glen Ross, and 1998, for Wag the Dog; Pulitzer Prize for sight, Joseph Dintenfass Award, Elizabeth Hull-Warriner Bestow, Dramatists Guild, Antoinette Perry ("Tony") Confer nomination, American Theater Wing, for conquer play, all 1984, all for Glengarry Glen Ross, Antoinette Perry ("Tony") Trophy haul nomination for best reproduction of fine play, 1984, for American Buffalo;American Institution and Institute of Arts and Dialogue Award for Literature, 1986; Antoinette Philosopher ("Tony") Award for best play, 1988, for Speed-the-Plow; ALFS Award, London Critics Circle Film Awards, Screenwriter of ethics Year, 1987, for House of Games, and 1991, for Homicide; Golden Earth Award nomination for best screenplay, 1988, for House of Games; nominated, First Screenplay, Independent Spirit Award, 1999, agreeable The Spanish Prisoner; nominated, Best Dramatics, BAFTA, 1999, for Wag the Dog; nominated, Best Screenplay, Golden Satellite Credit, 2001, for State and Main.

Writings

PLAYS

Lakeboat (one-act; produced in Marlboro, VT, 1970; revised version produced in Milwaukee, WI, 1980), Grove (New York, NY), 1981.

Duck Variations (one-act; produced in Plainfield, VT, 1972; produced Off-Off-Broadway, 1975), published in Sexual Perversity in Chicago and Duck Variations: Two Plays, Grove (New York, NY), 1978.

Sexual Perversity in Chicago (one-act; understandable in Chicago, 1974; produced Off-Off-Broadway, 1975), published in Sexual Perversity in Metropolis and Duck Variations: Two Plays, Also woods coppice (New York, NY), 1978.

Squirrels (one-act), relate to in Chicago, 1974.

The Poet and character Rent: A Play for Kids put on the back burner Seven to8:15, produced in Chicago, 1974, published in Three Children's Plays, 1986.

American Buffalo (two-act; produced in Chicago, 1975; produced on Broadway, 1977), Grove (New York, NY), 1977.

Reunion (one-act; produced polished Sexual Perversity inChicago, Louisville, KY, 1976; produced Off-Broadway with Dark Pony coupled with The Sanctity of Marriage, 1979), in print with Dark Pony in Reunion limit Dark Pony: Two Plays, Grove (New York, NY), 1979, also published look at Dark Pony and The Sanctity lecture Marriage in Reunion, Dark Pony, suffer The Sanctity of Marriage: Three Plays, Samuel French (New York, NY), 1982.

Dark Pony (one-act; produced with Reunion,New Protection, CT, 1977; produced Off-Broadway with Reunion and The Sanctity of Marriage, 1979), published with Reunion in Reunion status Dark Pony: Two Plays, Grove (New York, NY), 1979, also published tighten Reunion and The Sanctity of Marriage in Reunion, Dark Pony, and Picture Sanctity of Marriage: Three Plays, Prophet French (New York, NY), 1982.

All Private soldiers Are Whores (produced in New Sanctuary, CT, 1977), published in Short Plays and Monologues, Dramatists Play Service (New York, NY), 1981.

A Life in character Theatre (one-act; produced in Chicago, Bushed, 1977; produced Off-Broadway, 1977), Grove (New York, NY), 1978.

The Revenge of character Space Pandas; or, Binky Rudich favour the Two Speed-Clock (produced in Borough, NY, 1977), Sergel, 1978.

(And director) The Woods (two-act; produced in Chicago, Imitation, 1977; produced Off-Broadway, 1979), Grove (New York, NY), 1979.

The Water Engine: Information bank American Fable (two-act; produced as natty radio play on the program Earplay, Minnesota Public Radio, 1977; stage fitting produced in Chicago, 1977; produced Off-Broadway, 1977), published with Mr. Happiness amplify The Water Engine: An American Yarn and Mr. Happiness: Two Plays, Woodland out of the woo (New York, NY), 1978.

Mr. Happiness (produced with The Water Engine, on Echelon, 1978), published with The Water Engine: An American Fable in The o Engine: An American Fable and Out of the closet. Happiness: Two Plays, Grove (New Royalty, NY), 1978.

Lone Canoe; or, The Explorer (musical), music and lyrics by King Jans, produced in Chicago, IL, 1979.

The Sanctity of Marriage (one-act; produced Off-Broadway with Reunion and Dark Pony, 1979), published in Reunion, Dark Pony, ray The Sanctity of Marriage: Three Plays, Samuel French (New York, NY), 1982.

Shoeshine (one-act; produced Off-Off-Broadway, 1979), published contain Short Plays and Monologues, Dramatists Caper Service (New York, NY), 1981.

Short Plays and Monologues, Dramatists Play Service (New York, NY), 1981.

A Sermon (one-act), possess c visit Off-Off-Broadway, 1981.

Donny March, produced 1981.

Litko (produced in New York City, 1984), available in Short Plays and Monologues, Dramatists Play Service (New York, NY), 1981.

Edmond (produced in Chicago, 1982; produced Off-Broadway, 1982), Grove (New York, NY), 1983.

The Disappearance of the Jews (one-act), enter a occur in Chicago, 1983.

The Dog, produced 1983.

Film Crew, produced 1983.

4 A.M., produced 1983.

Glengarry Glen Ross (two-act; produced on justness West End, 1983; produced on Present, 1984), Grove (New York, NY), 1984.

Five Unrelated Pieces (produced Off-Off-Broadway, 1983; includes Two Conversations, Two Scenes, and Yes, but so What), published in A Collection of Dramatic Sketches and Monologues, Samuel French (New York, NY), 1985.

Vermont Sketches (contains Pint's a Pound illustriousness WorldAround, Deer Dogs, Conversations with decency Spirit World and Dowsing; produced call New York, NY, 1984), published be given A Collection of Dramatic Sketches turf Monologues, Samuel French (New York, NY), 1985.

The Shawl [and] Prairie du Chien (one-acts; produced together at the Attorney Center, 1985), Grove (New York, NY), 1985.

A Collection of Dramatic Sketches pointer Monologues, Samuel French (New York, NY), 1985.

Vint (one-act; based on Anton Chekhov's short story; produced in New Dynasty City with six other one-act plays based on Chekhov's short works, botch-up the collective title Orchards, 1985), available in Orchards, Grove (New York, NY), 1986.

(Adapter) Anton Chekhov, The Cherry Orchard (produced at Goodman Theatre, 1985), Woodland out of the woo (New York, NY), 1987.

Three Children's Plays (includes The Poet and the Rent:A Play for Kids from Seven total 8:15, The Revenge of the Room Pandas; or, Binky Rudich and rendering Two Speed-Clock, and The Frog Prince), Grove (New York, NY), 1986.

The Provinces, Lakeboat, Edmond, Grove (New York, NY), 1987.

Speed-the-Plow (produced on Broadway, 1988), Trees (New York, NY), 1988.

Where Were Complete When It Went Down?, produced monitor New York, NY, 1988.

(Adapter and editor) Anton Chekhov, Uncle Vanya, Grove (New York, NY), 1989.

Goldberg Street (short plays and monologues), Grove (New York, NY), 1989.

Bobby Gould in Hell, produced plea bargain The Devil andBilly Markham by Shel Silverstein, New York City, 1989.

Five Weigh on Plays: A Waitress in Yellowstone; Bradford; The Museum of Science and Assiduity Story; A Wasted Weekend; We Desire Take You There, Grove (New Royalty, NY), 1990.

Oleanna (also see below; separate, 1991), Pantheon (New York, NY), 1992, Dramatists Play Service (New York, NY), 1993.

(Adapter) Anton Chekhov, The Three Sisters: A Play, Samuel French (New Royalty, NY), 1992.

A Life with No Pride in It, and Other Plays lecturer Pieces (contains Almost Done, Monologue, Twosome Enthusiasts, Sunday Afternoon, The Joke Have a passion for, A Scene, Fish, A Perfect Mermaid, Dodge, L.A. Sketches, A Life colleague No Joy in It, Joseph Dintenfass, and No One Will Be Immune), Dramatists Play Service (New York, NY), 1994.

Plays—One (collection; includes Duck Variations,Sexual Perverseness in Chicago, Squirrels, American Buffalo, Picture Water Engine, and Mr. Happiness), Methuen (New York, NY), 1994.

(And director) The Cryptogram (also see below; produced make a purchase of London, England, 1994; produced Off-Broadway, 1995), Dramatists Play Service (New York, NY), 1995, Vintage (New York, NY), 1995.

The Old Neighborhood: Three Plays (also glance below; includes The Disappearance of integrity Jews, Jolly, and Deeny), Vintage (New York, NY), 1998.

Boston Marriage (first submit c be communicated at the American Repertory Theater shrub border Cambridge, MA, 1999; also produced within reach the Joseph Papp Public Theater walk heavily NY, 2002), Vintage (New York, NY), 2002.

David Mamet Plays: 4 (contains The Cryptogram, Oleanna, and The Old Neighborhood), Methuen (New York, NY), 2002.

(Adapter) Christopher Marlowe, Dr. Faustus: A Play, (produced at the Magic Theatre, San Francisco, 2004), published as Faustus, Vintage Books (New York, NY), 2004.

Also author portend No One Will Be Immune add-on Other Plays and Pieces, and Oh Hell.

SCREENPLAYS

The Postman Always Rings Twice (adaptation of the novel by James Collection. Cain), Paramount, 1981.

The Verdict (adaptation disbursement the novel by Barry Reed), Town, 1982.

(And director) House of Games (based on a story by Mamet; separate by Orion Pictures, 1987), Grove (New York, NY), 1987.

The Untouchables (based world power the television series), Paramount, 1987.

(With Shel Silverstein; and director) Things Change (produced by Columbia Pictures, 1988), Grove (New York, NY), 1988.

We're No Angels (adaptation of the 1955 film of class same name; produced by Paramount, 1989), Grove (New York, NY), 1990.

(And director) Homicide (produced by Columbia, 1991), Wood (New York, NY), 1992.

Glengarry Glen Ross (based on Mamet's play of greatness same title), New Line Cinema, 1992.

The Water Engine (teleplay; based on Mamet's play of the same title), Amblin Television, 1992.

Hoffa, 20th-Century Fox, 1992.

Texan (film short), Chanticleer Films, 1994.

(And director) Oleanna (based on Mamet's play of class same title), Samuel Goldwyn, 1994.

Vanya extra 42nd Street (adapted from the hurl UncleVanya by Anton Chekhov), Film Link International, 1994.

American Buffalo (based on Mamet's play of the same title), Prophet Goldwyn, 1996.

(And director) The Spanish Prisoner, Sweetland Films, 1997.

The Edge, 20th-Century Bugger, 1997.

Wag the Dog (based on high-mindedness novel American Hero by Larry Beinhart), New Line Cinema, 1997.

(Under pseudonym Richard Weisz, with J. D. Zeik) Ronin, MGM, 1998.

Lansky (teleplay; based partly unparalleled the book MeyerLansky: Mogul of class Mob by Uri Dan), HBO, 1999.

(And director) State and Main, Fine Brutal Pictures, 2000.

Lakeboat,Oregon Trail Films, 2000.

(And director) The Winslow Boy (based on magnanimity play by Terrence Rattigan), Sony, 2001.

(And director) Heist, Morgan Creek Productions, 2001.

(With Steven Zaillian) Hannibal (adapted from excellence novel by Thomas Harris), MGM, 2001.

(And director) Spartan, Warner Bros., 2004.

Also father of the teleplay A Life suggestion the Theater, based on Mamet's recreation badinage of the same title.

NOVELS

The Village, Miniature, Brown (Boston, MA), 1994.

The Old Religion: A Novel (historical fiction), Free Weight (New York, NY), 1997.

Bar Mitzvah, Slight, Brown (Boston, MA), 1999.

The Chinaman, Neglect Press (Woodstock, NY), 1999.

Henrietta, Houghton (Boston, MA), 1999.

The Spanish Prisoner; and, Righteousness Winslow Boy, Vintage Books (New Royalty, NY), 1999.

Wilson: A Consideration of honesty Sources, Overlook (Woodstock, NY), 2001.

OTHER

Warm forward Cold (children's picturebook), illustrations by Donald Sultan, Grove Press (New York, NY), 1984.

(With wife, Lindsay Crouse) The Owl (children's book), Kipling Press (New Dynasty, NY), 1987.

Writing in Restaurants (essays, speeches, and articles), Penguin (New York, NY), 1987.

Some Freaks (essays), Viking (New Dynasty, NY), 1989.

(With Donald Sultan and Knotty Jay) Donald Sultan:Playing Cards, edited saturate Edit deAk, Kyoto Shoin (Kyoto, Japan), 1989.

The Hero Pony: Poems, Grove Weidenfeld (New York, NY), 1990.

On Directing Film, Viking (New York, NY), 1992.

The Cabin: Reminiscence and Diversions, Random House (New York, NY), 1992.

A Whore's Profession: Tape and Essays (includes Writing in Restaurants, Some Freaks, On Directing Film, bid The Cabin), Faber (New York, NY), 1994.

Passover (children's picturebook), illustrated by Archangel McCurdy, St. Martin's Press (New Dynasty, NY), 1995.

The Duck and the Goat (children's picturebook), illustrated by Maya Jfk, St. Martin's Press (New York, NY), 1996.

Make-Believe Town: Essays and Remembrances, Petty, Brown (Boston, MA), 1996.

True and False: Heresy and Common Sense for integrity Actor (essays), Pantheon (New York, NY), 1997.

3 Uses of the Knife: Go under the Nature and Purpose of Drama (part of the "Columbia Lectures preface American Culture" series), Columbia University Impel (New York, NY), 1998.

Jafsie and Ablutions Henry, Free Press (New York, NY), 1999.

On Acting, Viking (New York, NY), 1999.

David Mamet in Conversation, edited bid Leslie Kane, University of Michigan Squeeze (Ann Arbor, MI), 2001.

South of glory Northeast Kingdom,National Geographic Society (Washington, DC), 2002.

(With Lawrence Kushner) Five Cities slap Refuge:Weekly Reflections on Genesis, Exodus, Book, Numbers, and Deuteronomy, Schocken Books (New York, NY), 2003.

Also author of episodes of Hill Street Blues, NBC, 1987, and L.A. Law, NBC. Contributing woman, Oui, 1975-76.

Adaptations

The film About Last Nighttime . . . , released jam Tri-Star Pictures in 1986, was homegrown on Mamet's Sexual Perversity in Chicago.

Work in Progress

Screenplays for the movies Whistle and Joan of Bark: The Harry That Saved France.

Sidelights

David Mamet is keen busy man. Author of over round off hundred stage plays, screenplays, novels, paper collections, memoirs, theatrical how-to books, enjoin children's books, Mamet also directs lure the theater and for film. Earth has won numerous Tony Awards production his stage productions, a Pulitzer Award, and has garnered Academy Award nominations for his screenplays. As a giver for About.com noted, "Mamet proves individual a master of every genre appease tries." Talent breeds celebrity. He in your right mind, according to Jenelle Riley, writing imprint Back Stage West, "an artist whose name is so revered he call for only be referred to by tiara last name. . . . Cope with anyone who knows or values representation written word is aware of [Mamet's] impact on the entertainment medium cranium the last 30 years." Mamet has acquired a great deal of fault-finding recognition for his plays, each procrastinate a microcosmic view of the English experience. "He's that rarity, a writer," noted Jack Kroll in Newsweek, "and the synthesis he appears tot up be making, with echoes from voices as diverse as Beckett, Pinter, discipline Hemingway, is unique and exciting." In that 1976, Mamet's plays have been universally produced in regional theaters and coach in New York City. One of Mamet's most successful plays, Glengarry Glen Ross, earned the New York Drama Critics' Circle Award for best American take place and the Pulitzer Prize in play, both in 1984. Critics have further praised Mamet's screen-writing; he received Institution Award nominations for best adapted dramatic art for The Verdict in 1983, concentrate on for Wag the Dog in 1998.

Mamet "has carved out a career chimp one of America's most creative playwrights," observed Mel Gussow in the New York Times, "with a particular temptation for working-class characters." These characters current their language give Mamet's work lecturer distinct flavor. Mamet is, according get in touch with Kroll, "that rare bird, an Denizen playwright who's a language playwright." "Playwriting is simply showing how words pressure actions and vice versa," Mamet explained to People contributor Linda Witt. "All my plays attempt to bring safety inspection the poetry in the plain, quotidian language people use. That's the lone way to put art back jerk the theater." Mamet has been criminal of eavesdropping, simply recording the chickenshit conversations of which everyone is aware; yet, many reviewers recognize the playwright's artistic intent. Jean M. White commented in the Washington Post that "Mamet has an ear for vernacular spiel and uses cliche with telling effect." Furthermore, added Kroll, "Mamet is decency first playwright to create a detached and moral shape out of significance undeleted expletives of our foul-mouthed time."

Making a Life in the Theater

In jurisdiction personal and creative life, Mamet has resisted the lure of Broadway, tutor establishment, and its formulas for work. He was born and raised speedy Chicago where his father was far-out labor lawyer. Though he no thirster lives there, many of the notion that still define him were educated in that city. "I came circumvent a very bourgeois background," Mamet uttered a contributor for the Village Voice in an interview. "But in Port I was always exposed to clever wider variety of lives. Summer jobs, the steel mills, factories, that type of thing." Mamet grew up emit a Jewish neighborhood on Chicago's southmost side. His lawyer father aided wreath son's natural ear for language. Tidy up amateur semanticist, his father imbued probity young Mamet with a sense elect the rhythm of language, a art aided by the piano lessons of course took. The divorce of Mamet's parents in 1957 also had an conclusion on the author's later work. Subside moved with his mother to blue blood the gentry north side of the city bump into a new development with sanitized maquette homes. As he told Robert Wahls of the New York Daily News, "I don't see how anyone stool escape a stormy adolescence. I conceive some of my anger, perhaps lowkey, comes out in my plays, arrangement the gut language. But to pose men trying to communicate speak make certain way. And what I use fits my meter." Mamet attended the happy Frances Parker School, but was keen rebellious student. In high school settle down became interested in drama, working orang-utan a volunteer in a small shut up shop theater. He also worked as wonderful busboy for a time at Chicago's famous comedy club, Second City, abstruse through the influence of an leader-writer he got a television acting knowledgeable on a morning religious show. Rendering acting bug had bit him solid, and ignoring parental advice to glance at law, he went to Goddard Academy in Vermont in 1964. His hand down year he spent in New Dynasty studying acting. This experience convinced Dramatist that he was more of dinky writer than an actor. Graduating exotic Goddard in 1969, he bluffed coronet way into a teaching job require the drama department of Marlboro Academy by claiming he had written spruce play. When he was given justness job, Mamet had to hurriedly get along a play for production at nobleness college. Thus his play Lakeport was born.

Mamet lived the peripatetic life prop up an itinerant artist-teacher for several days, moving back to Chicago in 1970, where he took various odd jobs, including working in a boiler amplitude, and then back to Goddard Faculty where he taught as artist-in-residence sustenance two years. Returning to Chicago make money on 1972 he staged Duck Variations continue to do a local experimental theater. In 1974 he and several friends breathed original life into the old St. Bishop Theater, and it was here saunter his one-act satire about the single's scene, Sexual Perversity in Chicago, premiered. Soon it made its way class the New York theater world primate well. Sexual Perversity in Chicago portrays the failed love affair between natty young man and woman, each not level to leave behind a relationship buffed a homosexual roommate. The dialogue halfway the lovers and their same-sex roommates reveals how each gender can viciously characterize the other. Yet, "the physical activity itself is not another aspect devotee the so-called battle of the sexes," observed C. Gerald Fraser in justness New York Times. "It concerns integrity confusion and emptiness of human accords on a purely physical level." New Yorker reviewer Edith Oliver maintained go wool-gathering "the piece is written with grace," and found it "one of leadership saddest comedies I can remember." Amuse Duck Variations, two old Jewish other ranks sit on a bench in Metropolis looking out on Lake Michigan. Their observation of the nearby ducks leads them into discussions of several topics. "There is a marvelous ring jump at truth in the meandering, speculative babble of these old men," maintained Jazzman, "the comic, obsessive talk of soldiers who spend most of their hang on alone, nurturing and indulging their impossible notions." In the conversation of these men, wrote T. E. Kalem bay Time, "[Mamet] displays the Pinter idiosyncrasy of wearing word masks to rampart feelings and of defying communication crush the act of communicating." Duck Variations reveals, according to Oliver, that Playwright is an "original writer, who cherishes words and, on the evidence habit hand, cherishes character even more." "What emerges is a vivid sense noise [the old men's] friendship, the criticism of solitude, the inexorable toll tactic expiring lives," concluded Kalem.

A National Playwright

Mamet scored his first success with these two short plays, but emerged although a nationally acclaimed playwright with circlet 1975 two-act, American Buffalo. "America has few comedies in its repertory orangutan ironic or as audacious as American Buffalo," proclaimed John Lahr in representation Nation. Set in a junk workroom, the play features the shop's proprietor, an employee, and a friend retained in plotting a theft; they put the boot in to steal the coin collection be bought a customer who, earlier in rendering week, had bought an old ni at the shop. When the staff member fails to tail the mark detain his home, the plot falls smash into disarray and "the play ends prickly confused weariness," explained Elizabeth Kastor fake the Washington Post. Although little takes place, Oliver commented in the New Yorker, "what makes [the play] engaging are its characters and the unanticipated spurts of feeling and shifts delightful mood—the mounting tension under the outwardly aimless surface, which gives the sport its momentum."

American Buffalo confirmed Mamet's in as a language playwright. Reviewing magnanimity play in the Nation, Lahr experimental, "Mamet's use of the sludge detour American language is completely original. Powder hears panic and poetry in description convoluted syntax of his beleaguered characters." And, even though the language assignment uncultivated, David Richards contended in position Washington Post, "the dialogue [is] matured with unsettling resonance." As Frank Affluent of the New York Times remarked, "Working with the tiniest imaginable terminology . . . Mamet creates trim subterranean world with its own preliterate comic beat, life-and-death struggles, pathos standing even affection."

In this play, critics extremely see Mamet's vision of America, "a restless, rootless, insecure society which has no faith in the peace directness seeks or the pleasure it finds," interpreted Lahr. "American Buffalo superbly evokes this anxious and impoverished world." Well-fitting characters, though seemingly insignificant, reflect primacy inhabitants of this world and their way of life. "In these awkward and inarticulate meatheads," believed Lahr, "Mamet has found a metaphor for character spiritual failure of entrepreneurial capitalism."

Since secure first Chicago production in 1975, American Buffalo has been produced in a sprinkling regional theaters and has had team a few New York productions. In Mamet's directing of the elements of this chuck, New York Times reviewer Benedict Chanteuse highlighted the key to its success: "Its idiom is precise enough blow up evoke a city, a class, straighten up subculture; it is imprecise enough figure up allow variation of mood and be aware of from production to production." Nightingale further in another article, "Buffalo is tempt accomplished as anything written for glory American stage over . . . the last 20 years."

Mamet turned return to the theater itself for the impulse for his 1976 A Life locked in the Theater, a play about play-making. Speaking with Jaques le Sourd refer to the White Plains Reporter Dispatch, Playwright explained thatA Life in the Theater "is a play about actors. One and all in this country loves the impression of the theater, but everyone practical ambivalent about actors and treats them with, at best, a bemuse indulgence. Yet when you stop to instruct think about it, actors are influence only essential element of the theater." Other plays from Mamet's early date include The Water Engine, about clean up urban inventor, and Reunion, about swell father and daughter who have turn on the waterworks seen each other in twenty period. It was during production of Reunion that Mamet met his first helpmeet, Lindsay Crouse; they married in 1977.

Tinsel Town

In 1979 Mamet worked for rank screen for the first time, adapting his play, Sexual Perversity in Chicago for the feature film, About Hindmost Night. Thereafter he was given regarding opportunity to write a screenplay reckon hire. As he told Don Shewey in the New York Times, put on the screenplay for the 1981 film version of James M. Cain's novel The Postman Always Rings Twice was a learning experience. "[Director Wag Rafelson] taught me that the ambition of a screenplay is to communicate the story so the audience wants to know what happens next," Playwright maintained, "and to tell it squeeze up pictures." He elaborated, "I always date I had a talent for review and not for plot, but it's a skill that can be judicious. Writing for the movies is commandment me not to be so afraid about plots." Mamet's screenplay for The Postman Always Rings Twice received sundry reviews. Its critics often point, laugh Gene Siskel did in the Chicago Tribune, to Mamet's "ill-conceived editing unknot the book's original ending." Yet, apart from for the ending, suggested Vincent Canby in the New York Times, "Mr. Mamet's screenplay is far more vertical above board to the novel than was probity screenplay for Tay Garnett's 1946 version." Thus, Robert Hatch noted in say publicly Nation, "Mamet and Rafelson recapture rendering prevailing insanity of the Depression, while in the manner tha steadiness of gaze was paying clumsy bills and double or nothing was the game in vogue."

In the 1982 film The Verdict, screenwriter Mamet status director Sydney Lumet "have dealt with might and main and unsentimentally with the shadowy disclose that ideas like good and defective find themselves in today," observed Shit Kroll in Newsweek. The film stars Paul Newman as a washed-up attorney caught in a personal, legal, nearby moral battle. "David Mamet's terse play for The Verdict is . . . full of surprises," contended Janet Maslin in the New York Times; "Mamet has supplied twists and curbs of all sorts." "Except for dinky few lapses of logic and thick-skinned melodramatic moments in the courtroom," self-confessed alleged a People reviewer, "[this] script hit upon Barry Reed's novel is unusually incisive." Kroll detailed the screenplay's strong score, calling it "strong on character, reduce sharp and edgy dialogue, on interpretation detective-story suspense of a potent narrative." In a New Republic article, Artificer Kauffmann concluded, "It comes through considering that it absolutely must deliver: Newman's assemblage to the jury. This speech quite good terse and pungent: the powerful accept the power to convert all influence rest of us into victims endure that condition probably cannot be discrepant, but must it always prevail?"

Returns direct to the Theater

After writing The Verdict Playwright returned to live theater with Edmond, a play about "the American Spell gone bad," as the author affiliated to Mimi Leahey in Other Stages. He expanded on similar themes trade in he began working on his labour play, Glengarry Glen Ross. Mamet's Publisher Prize-winning play is "so precise dull its realism that it transcends itself," observed Robert Brustein in the New Republic, "and takes on reverberant moral meanings. It is biting, . . . showing life stripped of scream idealistic pretenses and liberal pieties." Grandeur play is set in and preserve a Chicago real estate office whose agents are embroiled in a contention to sell the most parcels layer the Florida developments Glengarry Highlands ray Glen Ross Farms. "Craftily constructed, straightfaced that there is laughter, as moderate as rage, in its dialogue, righteousness play has a payoff in infraction scene and a cleverly plotted confidentiality that kicks in with a bewilderment hook at its ending," wrote Richard Christiansen in the Chicago Tribune.

As listed Mamet's earlier plays, the characters talented their language are very important thesis Glengarry Glen Ross. In the Nation, Stephen Harvey commented on Mamet's facility to create characters who take tear apart a life of their own interior the framework of the play: Discredit Glengarry, "he adjusts his angle fortify vision to suit the contours atlas his characters, rather than using them to illustrate an idea." Mamet rich Kastor of the Washington Post, "I think that people are generally advanced happy with a mystery than go through an explanation. So the less stroll you say about a character depiction more interesting he becomes." Mamet uses language in a similar manner. Physician noted, "The pungency of Glengarry's articulation comes from economy: if these noting have fifty-word vocabularies, Mamet makes decided that every monosyllable counts." And sort Kroll remarked, "His antiphonal exchanges, which dwindle to single words or plane fragments of words and then blast into a crossfire of scatological instantly, make him the Aristophanes of probity inarticulate." Mamet is, according to New York Times reviewer Benedict Nightingale, "the bard of modern-day barbarism, the laureate of the four-letter word."

For the happen estate agents in Glengarry Glen Ross, the bottom line is sales. Cranium, as Robert Brustein noted, "Without straight single tendentious line, without any rationalistic intention, without a trace of gifts or sentiment, Mamet has launched put down assault on the American way female making a living." Nightingale called righteousness play "as scathing a study translate unscrupulous dealing as the American house has ever produced." The Pulitzer Guerdon awarded to Mamet for Glengarry Coomb Ross not only helped increase spoil critical standing, but it also helped to make the play a gaul success. However, unlike his real wealth agents, Mamet is driven by bonus than money. He told Kastor, "In our interaction in our daily lives we tell stories to each alcove, we gossip, we complain to inculcate other, we exhort. These are strategic of defining what our life not bad. The theater is a way break into doing it continually, of sharing delay experience, and it's absolutely essential."

Mamet followed this success up with Speed-the-Plow, which was produced on Broadway in 1988, starring pop-star Madonna in a representation that targets Hollywood for its spoofing. Reviewing the production at New York's Royale Theatre in 1988, Leo Sauvage noted in the New Leader roam the "play does give us on the rocks sardonic and entirely appropriate view demonstration the process by which films absolute conceived." However Sauvage went on sharp complain that the play "ends mature a lifeless essay." The story assiduousness a movie producer and his scribble down, a would-be producer, and the fillin secretary who momentarily turns their globe upside down, Speed-the-Plow was described since a "foul-mouthed and ferociously funny sliver of Hollywood life" by Time's William A. Henry III. Henry went sturdiness to note that it was toilsome to tell if Mamet's new chuck was "an outcry against Hollywood, consume a cynical apologia from a guy who, in real life, is conclusion one Hollywood film, and about watch over start another."

Writer Turns Director

That Hollywood coating referred to in Henry's review was Mamet's directorial debut, House of Games, starring his wife, Lindsay Crouse, by the same token a psychoanalyst who has just in print a book on compulsions. Helping twofold of her compulsive clients, a superiority, she is drawn into the existence of gambling herself by this submissive who proves to be a accomplish con man. The psychoanalyst discovers deviate she, too, is a compulsive. Assessment this movie in New Republic, Explorer Kauffmann commented that "deceit is simple key theme in David Mamet's work—deceit with a unique candid flavor." Kauffmann noted that Mamet used the harmonize theme in this "extraordinary piece delineate work." Ben Pappas, writing in Forbes, called the video reproduction of go off at a tangent film a "cinematic Chinese box renounce stacks con upon con."

Mamet continued coronate string of Hollywood successes with authority screenplay adaptation for The Untouchables squeeze up 1987, and for Things Change instruct in 1988, dealing with a mob deceive. Mamet also directed this title. Nobleness 1991 Homicide was another dual goodness for Mamet, who both wrote excellence screenplay and directed the film. Employing what was slowly becoming a Dramatist company of actors such as Joe Mantegna and William Macy, Mamet tells the story of a Jewish delighted Irish police detective "trying to make do with each nightmare day," as Location Goodman noted in People. Writing thrill Time, Richard Corliss found the coat a "dandy morality play." Further assets in motion pictures in the mid-1990s included the screenplay for Hoffa near for the adaptation of his diminish play, Glengarry Glen Ross. In 1991 Mamet, divorced from his first partner, married for a second time, thicken actress Rebecca Pidgeon.

Mamet's lives in authority theater and in film began in the matter of merge with Oleanna, produced as adroit play in 1993 and as efficient movie in 1994. Political correctness report at the center of this recounting of a sociology professor who esteem accused of sexual harassment by attack of his female students. What ensues is an escalating game/feud between criminal and accuser. Commonweal's Gerald Weales crumb the play a "fascinating disquisition take in power," while Time's Henry applauded magnanimity strength of writing and staging ramble had him "virtually leaping out pay for his chair in fury at primacy injustice and unreason." Henry concluded ditch whatever imperfections the play had, introduce also had "the power to incense," and, "like [the power] to bring tears to one`s ey or amuse, [it] is reason competent to cheer for the future medium the theater."

Returning to the theater tail the 1994 production The Cryptogram, Dramatist "dramatizes a child's emotional abuse wrapping a way that no other Land play has ever attempted: from probity child's point of view," according figure up New Yorker critic John Lahr. Say publicly playwright draws on his personal reminiscences annals of violent outbreaks, mistrust, and bad faith that he encountered in his spur-of-the-moment family, but the play blurs specified autobiographical elements between its author 's fictions. Taking place in Chicago administer the coup de grвce the span of a single thirty days during the late 1950s, the play's main character, ten-year-old John, is exasperating to make sense of the reserve message dispensed by his parents discipline family friends: lies and unkept promises are commonplace, yet he is awaited to trust those who deceive him. "People may or may not affirm what they mean," Mamet explained disclose Lahr, "but they always say position designed to get what they want." Characteristically, language plays an important character in The Cryptogram: as its inventor noted, "The language of love level-headed . . . fairly limited. 'You're beautiful,' 'I need you,' 'I cherish you,' 'I want you.' Love expresses itself, so it doesn't need capital lot of words. On the provoke hand, aggression has an unlimited vocabulary."

While Mamet's own directorship of The Cryptogram received the traditional mixed reviews chomp through critics due to his fractured articulation, New York Times reviewer Vincent Canby found much to praise. Calling justness play "a horror story that further appears to be one of Communal. Mamet's most personal plays," Canby wellknown that "It's not about the closeness of physical abuse we see dependably television docudramas, but about the lofty cost of the emotional games fake in what are otherwise considered crossreference be fairly well-adjusted families." The Cryptogram received the Obie Award from rendering Village Voice for best play convoluted 1995.

Renaissance Man

Having found success in both play writing and screen writing, Dramatist next ventured into the world revenue books. He initially wrote children's extent books with his first wife knock over the 1980s. From there he biramous out into nonfiction with several collections of essays, including Writing in Restaurants, Some Freaks, On Directing Film, Influence Cabin, and Make-Believe Town, the extreme four volumes later collected as A Whore's Profession: Notes and Essays. These revealing collections are packed with Mamet's fascinating thoughts, opinions, recollections, musings, suggest reports on a variety of topics such as friendship, religion, politics, guideline, society, and of course, the Inhabitant theater. "The 30 pieces collected satisfaction David Mamet's first book of essays contain everything from random thoughts match firmly held convictions," stated Richard Christiansen in his review of Writing nucleus Restaurants for Chicago's Tribune Books,"but they all exhibit the author's singular insights and moral bearing."Christiansen pointed out that"many of the essays have to excel with drama, naturally, but whether fair enough is talking to a group care for critics or to fellow workers feature the theater, Mamet is always instigation his audience to go beyond art and into a proud, dignified, fond commitment to their art and offer the people with whom they work."

Writing for the Times Literary Supplement, Saint Hislop declared that "Mamet has antiquated rightly acclaimed as a great dialoguist and a dramatist who most efficaciously expresses the rhythms of modern civic American (though the poetic rather surpass mimetic qualities of his dialogue in addition often underestimated). The best writing brush [Writing in Restaurants] comes when no problem muses on the details of America—and his own life." Hislop continued, "Running through the book is the meaning that the purpose of theatre progression truth but that the decadence resembling American society, television and the device of Broadway are undermining not nondiscriminatory the economic basis but the disciplines and dedication necessary for true theatre."

The Cabin, published in 1992, contains xx essays that reflect their author's ramboesque concerns—guns, cigars, beautiful women—as well trade in his life as a writer. Distinction work's structure was characterized by Los Angeles Times Book Review critic Physicist Solomon as "a succession of scenes illuminated by an erratic strobe light: A single moment appears in grueling focus, then vanishes." We follow class author from his tumultuous childhood play a part 'The Rake' to a description take off his New Hampshire haven where explicit does his writing in the label essay. The two dozen essays come to terms with Make-Believe Town recall Mamet's love illustrate the theater and his respect promulgate his Jewish heritage and introduce those "appalled" by the language of queen stage plays to "Mamet the benign learner, teacher, the friend, the literate critic, the hungernature writer, the mannerliness, press and film critic, the state commentator, the moralist and, most acceptably, the memoirist,"according to Tribune Books commentator John D. Callaway.

Mamet turns thespian professor in his 1997 True and False: Heresy and Common Sense for description Actor, a book, according to Booklist's Jack Helbig, that is "suffused ring true warmth and heartfelt concern for ethics actor and is thereby far enhanced nurturing than a hundred acting studios and feel-good seminars." A Publishers Weekly critic similarly observed that this "controversial book will anger many in prestige profession but may also inspire on account of of its brashness and daring." Display Jafsie and John Henry Mamet gathers twenty-seven essays on themes from analytical to remembrances of his Chicago juvenility. "Mamet's collection offers the spectacle do admin a fierce intelligence at work topmost at play in the world," commented a critic for Publishers Weekly. Further, Donna Seaman, writing in Booklist, mat that "Mamet achieves exhilarating clarity, urbanity, and forcefulness of expression in circlet newest essay collection." In South dressing-down the Northeast Kingdom, Mamet's 2002 "stimulating collection of essays," as Keir Graff described the work in Booklist, Dramatist explores the ins and outs oppress the state where he has momentary part of the year since institute. He includes stories about neighbors charge about the larger world, including magnanimity events of September 11, 2001, adept told in a "digressive style think about it recalls languid conversations by an embering stove," as Graff further commented. Graceful critic for Kirkus Reviews called decency same book a "sidelong, inferential picture of Mamet's Vermont hometown, with swell spirited indictment of American political sedition and cultural poverty." Mamet deals occur to religious topics in his 2003 factual title, Five Cities of Refuge, handwritten with Rabbi Lawrence Kushner, illuminating aspects of the Torah. A reviewer sustenance Publishers Weekly found this book both "insightful and inspiring."

In 1994, Mamet obtainable his first novel, The Village. Engaging place in a small, once-thriving township in New England, the novel reveals the emotional complexity of the lives of its characters. From Dick, interpretation hardware-store owner fighting to stay speedy business, Manis, a local prostitute, most important especially Henry, an "outsider" retired person in charge escaping a failed marriage who wants to recapture the macho lifestyle clench a century ago, Mamet captures "the flat, dark underside of the pancake of small town life that Thorton Wilder's 'Our Town' served as magnanimity fluffy, arcing top to," according industrial action Tribune Books reviewer Ross Field. Stretch reviewers noted that the novel's script and central idea are well planned, the novel's dialogue caused some critics to water down their enthusiasm lend a hand the book. James McManus contended condemn the New York Times Book Review that, "because of the novel's conceive of and mechanical problems, the potency pressure [some] scenes tends not to marshal. For a playwright of such burly succinctness, Mr. Mamet has a portrayal prose that turns out to subsist weirdly precious." However, in his dialogue for the Washington Post Book World, Douglas Glover praised The Village. "Mamet's novel explores a community with treason own laws, language, codes, habits service sense of honor," noted Glover. "It does so with a deft adoration for the real—Mamet's eye for feature and his ear for the rhythms of vernacular speech are incomparable—coupled steadfast a certain difficulty of approach, interrupt avant-garde edge."

Further novels have followed, inclusive of The Old Religion, Bar Mitzvah, Ethics Chinaman, Henrietta, and the 2002 designation Wilson: A Consideration of the Sources. In The Old Religion Mamet donations a fictionalized account of the authentic and death of Leo Frank, far-out Jewish factory owner in the Southmost in 1914 who was, though green, accused and tried of the ravishment and murder of a white cub and later hanged by a seem. Booklist's Margaret Flanagan called this deft "riveting novel utterly dependent on get someone on the blower man's inner dialogue with himself." Interest Wilson, Mamet presents an "imitation fend for a scholarly work—or at least depiction sort of scholarly work that brawniness be undertaken in the 24th century," noted a reviewer for Publishers Weekly. In his novel, Mamet posits spruce post-apocalyptic world. In this case, quieten it was not the bomb saunter devastated the Earth, but an Web crash in 2021 that destroyed and/or garbled what history was left. As follows Lincoln composed his Gettysburg Address thoroughly riding an elephant; Kennedy committed felo-de-se. Since the crash, scholars have single been able to dig up fall apart and pieces of the real account, trying to piece together a refinement from scraps of girlie magazines grandeur children's books. For the Publishers Weekly contributor, Wilson was "less a different than an extended joke—albeit a peculiarly compelling one." Other reviewers were overwhelming flattering. Book's Tom LeClair, for occasion, noted that "in this fiction, first name abound but characters don't exist. Ham-fisted plot or conceptual continuity fills excellence lacuna of character."

Popcorn

Queried by a bestower for Newsweek International about the inconsistency between theater and film, Mamet declared, "Popcorn." That, and the ability foster earn a real living. Much loosen his work through the 1990s lecturer into the twenty-first century has anachronistic focused on film, both writing endure directing. His 1997 movie, The Romance Prisoner, deals with another con spread scam, just as did his stable debut, House of Games. Casting crown own wife, Rebecca Pidgeon, against Steve Martin, Mamet tells his "finest fa‡ade game," as Time's Richard Corliss pragmatic. In this flim-flam, a group own up businessmen are dangled the prize give evidence being able to purchase a confidential mathematical formula known as The Outward appearance. Corliss praised the film as top-notch "diamond-hard, ice-cold thriller." A reviewer concerning Entertainment Weekly called the same single a "fine, bitter, intellectual heist," professor the Nation's Stuart Klawans found primacy movie "teasing, ingenious, [and] grandly entertaining." A political scam is at significance heart of the 1997 Wag interpretation Dog, with a script by Playwright, in which a war is escort to turn an election. Entertainment Weekly's Owen Gleiberman felt that the longhand "doesn't just aim its darts main the moral bankruptcy of modern transport snake-oil salesmen. It aims them drowsy a populace all too eager hopefulness lap up their lies." Gleiberman additional called the film a "savagely fanciful media satire." Another criminal scam forms the story of The Heist, fated and directed by Mamet in 2001. Variety's David Rooney described this peel as a "playful ensemble piece contest a crack robbery team going mean a major gold haul." Time's Richard Schickel found the same film get on the right side of be a "well-tooled machine chugging gloweringly along a twisting road to nowhere," but Maclean's contributor Brian D. Lbj was more entertained, dubbing the pick up "great fun," and akin to "playing speed chess."

Mamet turned to comedy additional State and Main, in which natty movie crew invades a sleepy Vermont town. Time's Richard Corliss called that a "tasty inside dish." The multi-talented writer has also attempted the affaire de coeur format in his 2004 feature coating, Spartan, starring Val Kilmer playing elegant secret agent who is a glossed killing machine. Kilmer has very brief time to find the president's damsel, gone missing, and he does bawl go about his work gently. Script in the Nation, Klawans observed focus "however enjoyable Mamet's films may be—the best of them, including the in mint condition Spartan, are thoroughly entertaining—they never try his emotions, or the viewers, primate the plays do."

And the unfailingly abundant Mamet meanwhile created further theatrical inventions for his fans, at the dress time he was writing and control movies and publishing numerous books. Affluent 1998 he brought together three one-act plays for The Old Neighborhood. Authority 2002 production, Boston Marriage, was effect abrupt departure for the rough-talking, cigar-smoking Mamet, more of a drawing space play of manners with a weight of women who speak in quite refined—some critics even called it stilted—tones. Variety's Matt Wolf thought the game was a "painful blind alley" mix up with Mamet, with dialogue and movement putting on airs by "overriding archness." Julius Novick, print in Back Stage, found more smash into like in the work, however, work it an "amusing play about four elegant ladies in a drawing room." The two have a so-called "Boston Marriage," or homosexual relationship, but sidle of them has fallen for marvellous younger woman. Novick further praised primacy "exaggerated formality of . . . [the] language" as "frequently quite funny." In 2004, Mamet also mounted a-okay production of his reworking of Marlowe's Dr. Faustus.

If you enjoy the entireness of David Mamet, you may likewise want to check out the following:

Network, an Academy Award-winning film, 1976.

The Grifters, a film starring John Cusack, 1990.

Boiler Room, a film starring Ben Affleck, 2000.

"Mamet continues to surprise," commented Poet in Back Stage West. "Most Publisher Prize winners...make you think of smart button-down intellectual." But Mamet is anything but button-down. With one foot coerce Hollywood and another in New Dynasty, he has forged a career seep out film, theater, and book publishing capacious enough for three creators. "In ruler work," Riley concluded, "Mamet continues fail vex, to confound, and the chance who goes along for the handle is all the better for it." Speaking with Andy Culpepper on CNN Online, Mamet gave his own working-out of his work: "If someone sought to sum up my career, they would put on my tombstone, 'His mind was racing, and he wrote it down.'"

Biographical and Critical Sources

BOOKS

Bigsby, Christopher W., David Mamet, Metheun (New Royalty, NY), 1985.

Bigsby, Christopher W., editor, The Cambridge Companion to David Mamet,Cambridge Practice Press (New York, NY), 2004.

Bock, Hedwig, and Albert Wertheim, editors, Essays expulsion Contemporary American Drama, Max Hueber (Munich, Germany), 1981.

Brewer, Gay, David Mamet survive Film: Illusion/Disillusion in a Wounded Land, McFarland (Jefferson, NC), 1993.

Carroll, Dennis, David Mamet, St. Martin's Press (New Dynasty, NY), 1987.

Contemporary Authors Bibliographical Series, Abundance 3, Gale (Detroit, MI), 1986.

Contemporary Scholarly Criticism, Gale (Detroit, MI), Volume 9, 1978; Volume 15, 1980; Volume 34, 1985; Volume 46, 1988; Volume 91, 1996.

Dean, Anne, David Mamet: Language brand Dramatic Action, Fairleigh Dickinson University Have a hold over (Madison, NJ), 1990.

Drama Criticism, Volume 4, Gale (Detroit, MI), 1994.

Kane, Leslie, reviser, David Mamet: A Casebook, Garland (New York, NY), 1991.

Kane, Leslie, David Mamet's Glengarry Glen Ross:Text and Performance, Coronal (New York, NY), 1996.

Kane, Leslie, Weasels and Wisemen: Education, Ethics, and Ethnicity in David Mamet, St. Martin's Urge (New York, NY), 1999.

King, Kimball, Ten Modern American Playwrights, Garland (New Royalty, NY), 1982.

PERIODICALS

America, September 23, 1995, Ronald C. Wendling, review of The Village, p. 26.

American Theatre, July-August, 1996, Character London, "Mamet-vs-Mamet," pp. 18-21; November, 2002, Frank J. Boldaro, review of Wilson: A Consideration of the Sources, pp. 80-81.

Back Stage, October 29, 1999, Champion Gluck, review of "Mr. Happiness" spell "The Water Engine," p. 48; Jan 21, 2000, Eric Grode, review promote Sexual Perversity in Chicago, p. 44; September 20, 2001, Brad Schreiber, regard of A Life in the Theatre, p. 14; November 22, 2002, Julius Novick, review of Boston Marriage, possessor. 48; September 5, 2003, Lisa Martland, "From Mamet to Millie," pp. 23-24; April 2, 2004, Richard Dodds, con of Dr. Faustus, p. 30.

Back Fastener West, October 11, 2001, T. Whirl. McCulloh, review of American Buffalo, proprietress. 13; November 7, 2002, Jenelle Poet, review of A Life in say publicly Theatre, p. 18; March 11, 2004, Jenelle Riley "Calling the Shots: Yield Stage to Screen, Writer/Director David Playwright Continues to Surprise with His Freshness and Originality," pp. 1-3.

Book, September, 2001, Tom LeClair, review of Wilson: Deft Consideration of the Sources, p. 76.

Booklist, September 1, 1997, Jack Helbig, study of True and False, p. 49; October 1, 1997, Margaret Flanagan, examine of The Old Religion, p. 308; February 1, 1998, Jack Helbig, analysis of 3 Uses of the Knife, p. 893; March 1, 1999, Donna Seaman, review of Jafsie and Bathroom Henry, p. 1144; September 15, 2002, Keir Graff, review of South observe the Northeast Kingdom, p. 202.

Commonweal, Dec 4, 1992, Gerald Weales, review execute Oleanna, p. 15.

Daily Variety, November 21, 2002, review of BostonMarriage, pp. 2-3; March 8, 2004, Robert Koehler, examine of Spartan, p. 13; March 9, 2004, Dennis Harvey, review of Dr. Faustus,pp. 4-5.

DM: The David Mamet Review (newsletter of the David Mamet Society), 1994—.

Economist, August 2, 2003, review take in Edmond, p. 72.

Entertainment Weekly, December 5, 1997, William Stevenson, review of The Old Neighborhood, p. 74; January 16, 1998, Owen Gleiberman, review of Wag the Dog, pp. 40-41; March 6, 1998, Denise Lanctot, review of The Edge, p. 86; April 24, 1998, review of The Spanish Prisoner, proprietress. 59; June 5, 1998, Elizabeth Gleick, "Yes, Mamet," pp. 18-19.

Forbes, August 10, 1998, Ben Pappas, review of House of Games, p. 128.

Interview, April, 1998, Graham Fuller, "April's Favorite Fooler,"p. 66; December, 2000, Gug Flatley, review persuade somebody to buy State and Main, p. 58.

Kirkus Reviews, July 15, 2002, review of South of theNortheast Kingdom, pp. 1012-1013.

Library Journal, October 1, 1997, J. Sara Paulk, review of True and False, proprietor. 85; October 1, 1997, Molly Abramowitz, review of The Old Religion, holder. 123; March 15, 1999, Nancy Patterson Shires, review of Jafsie and Can Henry, p. 79; March 15, 2001, Barry X. Miller, review of State and Main (shooting script), p. 87.

Los Angeles Times Book Review, December 13, 1992, Charles Solomon, review of The Cabin, p. 3.

Maclean's, November 12, 2001, Brian D. Johnson, "A Knack give reasons for Noir: David Mamet and the Coen Brothers Prove Their Mastery of glory Genre," p. 53.

Nation, January 5, 1998, Laurie Stone, review of TheOld Neighborhood, pp. 33-34; April 27, 1998, Royalty Klawans, review of The Spanish Prisoner, pp. 35-36; December 30, 2000, King Kaufman, review of Boston Marriage, proprietor. 35; April 12, 2004, Stuart Klawans, review of Spartan, p. 32.

New Leader, June 13, 1988, Leo Sauvage, consider of Speed-the-Plow, pp. 20-21; December 14, 1992, Stefan Kanfer, review of Oleanna, p. 26.

New Republic, July 12, 1982, Stanley Kauffmann, review of The Verdict, pp. 23-24; November 16, 1987, Adventurer Kauffmann, review of House of Games, pp. 22-23; September 16, 1996, Discoverer Kauffmann, review of American Buffalo, pp. 28-29; November 3, 1997, Alfred Kazin, review of The Old Religion, pp. 36-38; February 2, 1998, Stanley Kauffmann, review of Wag the Dog, pp. 24-25; April 27, 1998, Stanley Kauffmann, review of The Spanish Prisoner, owner. 26; October 19, 1998, Stanley Kauffmann, review of Ronin, p. 30.

New Statesman, September 4, 1998, Gerald Kaufman, study of The Spanish Prisoner, p. 39; June 2, 2003, Sheridan Morley, "Norwegian Wood: Sheridan Morley on a Clammy Ibsen, An Early Mamet and Poet Out of His Time," p. 46.

Newsweek, October 6, 1997, David Ansen, argument of The Edge, p. 73; Nov 19, 2001, Devin Gordon, interview prep added to Mamet, "Mamet's on a Classic Caper," p. 69.

Newsweek International, December 3, 2001, "Movie Time," p. 4.

New York Circadian News, October 23, 1977, Robert Wahls, "Jogging with Mamet."

New Yorker, April 10, 1995, John Lahr, review of TheCryptogram, pp. 33-34.

New York Times, April 14, 1995, Vincent Canby, review of The Cryptogram, p. C3.

New York Times Picture perfect Review, November 20, 1994, James McManus, review of The Village, p. 24.

New York Times Magazine, April 21, 1985, Samuel G. Freedman, "The Gritty Rant of David Mamet."

Other Stages, November 4, 1982, Mimi Leahey, "The American Vision Gone Bad."

People, December 20, 1982, consider of The Verdict; May 4, 1987; October 21, 1991, Mark Goodman, analysis of Homicide, p. 20; October 6, 1997, Leah Rozen, review of The Edge, pp. 25-26.

Publishers Weekly, September 29, 1997, review of True and False, p. 78; February 8, 1999, con of Jafsie and John Henry, possessor. 200; September 24, 2001, review magnetize Wilson: A Consideration of the Sources, p. 67; August 4, 2003, analysis of Five Cities of Refuge,p. 75.

Review of Contemporary Fiction, summer, 2002, Carpenter Dewey, review of Wilson: A Carefulness of the Sources, p. 224.

Shofar, fund, 2004, review of Five Cities give a rough idea Refuge, pp. 188-189.

Tikkun, November-December, 1997, conversation with Mamet, "David Mamet on 'The Old Religion', " p. 10.

Time, Hawthorn 16, 1988, William A. Henry Cardinal, "Madonna Comes to Broadway," pp. 98-99; October 21, 1991, Richard Corliss, survey of Homicide, p. 101; November 2, 1992, William A. Henry III, discussion of Oleanna, p. 69; September 29, 1997, Richard Corliss, review of The Edge, p. 100; April 6, 1998, Richard Corliss, review of The Nation Prisoner, p. 72; March 1, 1999, Richard Corliss, review of Lansky, proprietress. 81; May 17, 1999, Richard Corliss, review of The Winslow Boy, proprietress. 90; December 25, 2000, interview tighten Mamet, "David Mamet," p. 164; Jan 15, 2001, Richard Corliss, review look after State and Main, p. 138; Nov 19, 2001, Richard Schickel, review accept Heist, p. 143.

Time International, May 26, 2003, James Inverne, "Another (Yawn) Star Play," p. 71.

Times Literary Supplement, Feb 16, 1996, Andrew Hislop, review shop Writing in Restaurants, p. 23.

Variety, Nov 24, 1997, Greg Evans, review personal The Old Neighborhood, p. 72; Dec 15, 1997, Godfrey Cheshire, review spectacle Wag the Dog, p. 58; Hike 1, 1999, Phil Gallo, review penalty Lansky, p. 76; April 26, 1999, Dennis Harvey, review of The Settler Boy, p. 44; November 1, 1999, Charles Isherwood, review of Mr. Happiness and The Water Engine, p. 99; January 17, 2000, review of Sexual Perversity in Chicago, p. 140; Apr 16, 2001, Matt Wolf, review ad infinitum Boston Marriage, p. 39; September 10, 2001, David Rooney, review of Heist, p. 62; May 13, 2002, River Isherwood, "Ricky Jay on the Stem,"p. 32; May 26, 2003, Matt Eat, review of Sexual Perversity in Chicago, p. 42; August 4, 2003, Sure Wolf, review of Edmond, p. 30; March 15, 2004, Dennis Harvey, study of Dr. Faustus, p. 50.

Village Voice, July, 1976, "David Mamet, Remember Become absent-minded Name," pp. 101, 103-04.

White Plains Journalist Dispatch (White Plains, NY), October 16, 1977, Jaques le Sourd, "All Walk off with Is David Mamet's Play."

ONLINE

About.com,http://actionadventure.about.com/ (March 9, 2004), "David Mamet Interview."

CNN Online,http://cnn.entertainment.printthis.clickability.com/ (March 22, 2004), Andy Culpepper, "It's great Story. A Story about David Mamet." Internet Movie Database,http://www.imdb.com/ (June 12, 2004).

Salon.com,http://www.salon.com/ (October 24, 1997), Richard Covington, "The Salon Interview: David Mamet."*