Glengarry Glen Ross London Reviews and Tickets

It’s not so much a tragedy as a clinical dissection of little men who lie to make themselves feel bigger. Mamet neither feels sorry for them nor celebrates them – this is simply how they are.
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Once the production introduces us to Christian Slater as Roma, the production moves up a gear in terms of crackling authenticity. Slater, never better, consistently uses his hands as if weaving ensnaring webs around people, wields his eyes like pincers.
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But in the end, this is a lively but overly polite version of a great American play that pays it respect, without ever illuminating its dark and passionate heart.
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And while you are sometimes too aware of the acting going on in Sam Yates's atmospheric production, the cast are clearly relishing it.
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In fact, there are some moments in this enjoyably funny, often magnetic and occasionally lacerating evening when you miss the sheer ferocious passion of previous versions, but in general it does deliver the goods.
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While there’s something wearying about seeing yet another West End stage filled with men, their issues and their egos, this is a potent and dismayingly timely revival.
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Sam Yates directs a strong revival of David Mamet's caustic Eighties play about toxic masculinity.
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Sam Yates directs and keeps it sharp and, at one hour and 45 mins including an interval, short. The first act seems a bit jerky but, by the second, everything is motoring as smooth as can be.
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