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"A blog post masquerading as a drama...Every line feels hammered into the script in order to force the story toward its predetermined outcome...The actors deliver uniformly stiff performances as a result of this wooden dialogue...The story is presented in a series of seven scenes separated by unnecessarily lengthy blackouts, which sap what little energy and tension the show has built." Full Review
"Doctor-patient privilege, religion and infidelity are all worked into the mix, so much so that the story seems unbelievably loaded with twists, but that's part of the entertaining quality of it all, as are the elevated verbal rhythms that Mamet orchestrates so well into his dialogue. But even with the unnecessary intermission, Pepe's production takes up only eighty minutes, and 'The Penitent' might be more satisfying if paired with another short piece." Full Review
"To a wordsmith like Mamet, a slip of the tongue can be fatal for a character – although it’s difficult to care too much either way in this limp drama...Director Neil Pepe’s affinity for Mamet-speak can’t fill in the plot holes...Bauer makes a hearty meal of Mamet’s juicy dialogue...But it’s hard to grasp why the psychiatrist feels complicit in his patient’s crime — and harder still to understand his conflict of faith and ethics when the reason for it is withheld until it’s too late to care." Full Review
"Yet another clunker...Whereas Mamet’s stylized dialogue once crackled with electricity and tension, it now plays as hopelessly stilted. The mannerisms have become irritating, and the characters come across less as real people than mouthpieces for the ideas the playwright wants to express...The evening runs a scant 90 minutes, including an unnecessary intermission (perhaps a considerate gesture to playgoers wishing to flee), but it feels interminable." Full Review
“Under-conceived and underwritten…It feels wrong to describe Mamet's interchanges as conversations. All of them are arguments had in bad faith; certainly, little effort has been made to make them sound like human speech…The marks of something hastily written are all over the text, and its world is badly imagined and unbelievable. An accidentally hilarious denouement tries to power-pack action into the dull tale.” Full Review
"The worse tragedy of Mamet, more than his political conversion, is that his later works mostly bore and repel as plays. In 'The Penitent,' the dialogue maintains the artillery rhythms of his early work but there is no sensible character motive behind it; it chases itself in circles and often sounds as if it were erratically transcribed from hackneyed genre movies. The cast, under Neil Pepe’s clumsy direction, doesn’t help much." Full Review
"The relationship that fails to excite Mr. Mamet and his longtime collaborator, the director Neil Pepe, is the one between audience and play...And yet, if you prick up your ears, you can still hear a little of that old Mametian magic...He makes the plot take a couple of pretty unlikely turns...This blurs the play’s focus and weakens the surprise of its finish. The ending of 'The Penitent' pulls the rug out from under us, but that rug has already been worn pretty thin." Full Review
"Mamet has structured 'The Penitent' so that information is parceled out in stingy pieces. Some of this is surely for dramatic effect, particularly a revelation at the end that is undoubtedly meant to knock us out. But this approach winds up undercutting his thematic explorations...And that ending (which I won’t reveal) is not only implausible to the point of self-parody; it negates or at least clouds all the intellectual debate that’s gone before it." Full Review
“Mamet finds his firmest footing in Act II…The scenes are few but crisp and to the point…Sadly, getting there is far less than half the fun. The first act is a convoluted slog...dragged down by Mamet's prosaic, uninspiring dialogue…Lage, however, is outstanding as Richard…Pidgeon is stilted and starchy throughout...But I doubt that this evening would work much better if Kath's evolution were clearer; even the best acting can mitigate a lack of energizing content only so much." Full Review
"The press, the law, psychiatry, religion, marriage and friendship all get bashed in this intriguing but flawed drama...A late surprise changes everything that's come before—and is meant to surprise. It annoys instead, since the supposed big reveal would’ve come out by the defendant. Directed by Atlantic Theatre head Neil Pepe, the acting is 75% capable. The less said about the mannered performance by Pidgeon, Mamet’s wife, the better." Full Review
"What once had snap, crackle and pop now feels unnatural, forced and, yes, boring. Despite his affinity for Mamet, director Pepe's staging doesn't help. Bauer, as the main character who's always on stage, fares best...however, not enough so to rescue this from not just minor but painfully disappointing Mamet territory...Frankly, 'The Penitent' is less a play than a series of arguments designed to stick it to the unethical behavior in the legal, psychiatric, media and religious communities." Full Review
“If you’re a theater lover you’ll certainly want to see ‘The Penitent'...Is it a great play? Yes. Great production? Not so fast...Mamet’s wife Rebecca Pidgeon is his favorite leading lady. But is she right for this role?…Bauer gets caught in Pidgeon’s odd rhythms. Luckily, in his scenes with the other two actors...Bauer shakes off her influence and turns in a fine performance. A stronger hand is needed at the helm here, but the material is worth the trip." Full Review
"Mamet's new straw-man polemic takes less than 90 minutes to pile simplistic criticism onto the legal system, journalism, psychiatry, love, religion and the ethical culpability of those involved with any of the above...Conversations come in short scenes and dialogue interruptions—familiar Mamet techniques used for far better effect in so many earlier works. The generalizations are banal and, even when Mamet intentionally infuriates, these are not interesting minds with which to argue." Full Review
“While it’s by no means Mamet’s worst, it falls far short of his best work...The stilted opening scene really gets things off to a bad start…The second act begins energetically with a scene between Charles and an attorney (the fine Lawrence Gilliard Jr.) deposing him…The press, the legal system, psychiatry, religion, marriage and friendship all take a beating. There are no winners here, including the audience.” Full Review
"'The Penitent' isn’t so much a play as an argument. Mamet watchers are used to that. What makes 'The Penitent' not only thinner but also phony is the final scene where a character lets go with two bomblets that pretty much negate the previous 70 minutes...Not that 'The Penitent' is ever riveting...Under Neil Pepe’s direction, the actors move the chairs and table every which way in the relative darkness...It is amazing how many ways there are to arrange two chairs and one table." Full Review
"In Mamet’s best plays, offbeat speech patterns often give a charge to what’s being said; here, even under the direction of long-time Mamet collaborator Neil Pepe, the exchanges are dry, dramatically parched...'The Penitent' is better than Mamet’s last Broadway play, the unfortunate 'China Doll.' But it’s a long distance from the work that made him one of America’s most significant playwrights." Full Review
"Mamet’s play is often a jumble of non-cohesive ideas, but it still holds together better than recent pieces such as 'The Anarchist' and 'China Doll.' Viewed as an indictment of journalism or the law—take your pick—'The Penitent' is timely and exciting and, in the best of ways, awfully depressing...Overall, my response here was warm-ish. Some themes pop up like a muddled game of socioreligious whack-a-mole, but the play itself entertains and boasts a variety of interesting performances." Full Review
“It seems to go round and round at times in repeating the issues laid out for us. Although one can be absorbed, there is thinness in this Mamet play, which lacks the bite of his better works. My main enjoyment came from watching Pidgeon…Her performance gives the play a consistent edge. Neil Pepe’s direction unfolds the succession of intimate scenes effectively, but there is nothing that he can do to whitewash the fact that the play itself, although always interesting, is Mamet light.” Full Review
“Mamet and director Neil Pepe do succeed in conjuring a bleak atmosphere where principle, however misplaced, falls prey to the jaws of bureaucracy. There are also flashes of the playwright’s old talent for brutal verbal jousting...But, for the most part, the actors fail to breathe any real life into their staccato exchanges while the exposition is at once clunky and confusing. The underlying theme of reactionary victimhood also sits uneasily with recent political developments.” Full Review
"Each scene in this chamber piece leaves Charles, for all his high principles, haplessly outpaced...He misreads and is misread. And we too are uncertain about how to judge and how much to trust. But alas, our understanding of his dislocation never coheres. We are never fully convinced about either the plausibility of these events or of the characters’ motivations...The play is like a domestic dispute that has gone on too long without an outsider’s perspective." Full Review
"Mamet has penned a moral and ethical dilemma that really has no answer but leaves lots of questions. It's done in an ingenious style of giving you only some of the facts, making you guess at others and revealing a key element right at the end, which only serves to make you reflect back upon the entire play...Bauer held court in most every scene...Pidgeon was a bit stilted and awkward...A gripping and thought-provoking drama." Full Review
"'The Penitent' reminds us of Mamet's tremendous gifts for rapid-fire dialogue and political provocation. Yet despite an intriguing first act, which finds Mamet in furious attack mode, railing against the media and liberal political correctness, 'The Penitent' ultimately feels like a rough draft rushed into production...There are interesting ideas and maybe even a coherent play buried here, and the cast is solid, but Mamet should probably take 'The Penitent' back to the drawing board." Full Review
“Mamet’s misanthropic leanings can make crackling good drama…Here, however, the effect is blunted, as the characters seem to be inhabiting a vacuum…As the arguments get chewed over and over, things begin to seem pretty repetitious...On the plus side, Mamet’s dialogue impresses with command of language and the ability to make clear his character’s points of view...And the actors, for the most part, deliver the dialogue with the kind of conviction that makes you keep listening. " Full Review
“Director Neil Pepe never lets the intensity lag. He keeps his actors on their toes, resulting in a satisfyingly taut production...'The Penitent' doesn’t quite make it to the finish line. Mamet plays his cards too close to the vest, with too many major revelations coming in the last five minutes of the piece. Still it’s an engrossing drama. Brilliantly on track for most of its length, its derailments don’t neutralize the vigor of its verbal choreography." Full Review
See it if You like plays about ethics, morals, religion, understanding, & the power of the press. You want to see good performances by the male actors
Don't see it if you don't want to see a robotic performance by Mamet's wife, repetitive dialogue of "I understand" and "I don't understand" is overkill.
See it if my 80 and partner's 50.. It attacks the press (who attack Mamet) Doctors, Lawyers, Religion and even women Jordan Lage is great
Don't see it if The acting by Rebecca P. is a puzzlement. The set is minimal if anything. It ran 80 minutes and there was no need for the intermission
See it if If you're a fan David Mamet plays. If you like a wordy drama with a preachy vibe. If you'd like a "Johnny-Cochran-like-character" in a play.
Don't see it if If you're not a fan of Law & Order procedurals; you're uncomfortable hearing about mass-shootings; you're not a fan of a nuts carrying guns.
See it if you enjoy giving up 90 minutes of your life to boredom, excepting the 15 minutes Gilliard Jr. was onstage to remind us what great acting is.
Don't see it if a different "actor" (I use the term loosely here) overly annunciating every. Single. Word. Of dialogue will drive you mad. Save yourselves!
See it if Has glimpses of Mamet's former thunder & intellegence but feels more like a Mamet parody Bauer (looking like the author) & Lage do fine work
Don't see it if Too many cheap shots taken at powerful institutions doesn't constitute drama. Pepe's direction feels stilted & ending is totally contrived
See it if You're a Mamet completist because I think he should have stopped writing long ago. There's nothing here to recommend.
Don't see it if You want a coherent story with actors are capable or you will be annoyed with scene changes every 10 mins in silence.
See it if you want to see some good acting overall & are prepared for a halting Mamet-esque style and writing. If you go, stay for Act II.
Don't see it if you aren't prepared to be puzzled and unsure thru much of the piece. Or want to see HAMILTON.
See it if You are a fan of David Mamet, like tight construction and spare staginess or enjoy truthful acting. Intriguing premise, clever writing
Don't see it if You like flashiness, a lot of stage effects or want overt theatricality. If you hate simple staging and truthful acting avid this.
See it if Mamet is an acquired taste. Staccato line readings and smart actors with pinpoint control reign. Fine male roles. Bauer's calling card.
Don't see it if you prefer female POV. Kath is weakest role; performance could be stronger. Intermission superfluous.
See it if You'd appreciate a stretched out writing exercise or a mostly advanced scene study class with third year directing/second year staging.
Don't see it if You're expecting a fully realized play, sensible plot and dramatic structure or want to see vintage Mamet.
See it if you want a play about difficult moral dilemmas. Some of the scenes have good dialog. Ending is a bit of a surprise.
Don't see it if you want action. The first act is a bit annoying with a lot of repetitive dialog. Second act is a bit better.
See it if you're a fan of David Mamet and his brand of writing. It's all about the last 10 minutes so don't leave at intermission.
Don't see it if you are impatient and wonder what these characters are up to.
See it if You like pseudo-intelligent philosophizing
Don't see it if You seek emotional depth, realism and relevance; or you want to have a window into the playwright's dislikes