Carol has come to her professor’s office looking for help. She is confounded and discouraged. She’s read the text, made extensive notes, attended class, but the content eludes her. When she arrives John is on the phone, trying to resolve familial issues. He’s annoyed. He can’t find anyone to help. He’s keenly aware of his obligations as an instructor. When it occurs to him his problems are distracting from giving Carol his full attention, he shifts gears. He goes out of his way to be sympathetic, and bring genuine humanity to the table. He may very well come off as lofty or pompous, but neither of these are hanging offenses.
For her part, Carol is something of a train wreck. She’s made more than a good faith effort. She feels alone and beaten down and that her situation is hopeless. She believes she fails, because she’s a failure. John sympathizes, opens his heart, reassures her she doesn’t lack the skill. It’s the unyielding scholastic system. Carol (intentionally or not) relies on zero sum game. If she’s not responsible, someone else must be. John proposes dialectic (argument as a means to truth) as opposed to debate, which necessitates a winner and loser.
Oleanna is a subversive, perplexing drama. Upon inspection, most plays have a strategy dynamic to propel it. Playwright David Mamet is building gradual animosity between Carol and John. John may make unfortunate choices, but have they been egregious, or is Carol disingenuous? When she consults her peers, and proclaims she’s speaking for the group, this fundamentally changes their disagreement. John is no longer responsible only for his behavior towards her, but every student who’s conceivably been wronged by the intelligentsia.
Words, like racism and elitist and imperialism and of course, misogyny and sexism are brought to bear. Carol has become a mascot for causes that have nothing to do with her. It gives her case more leverage . Is she convinced John has nefarious motives? Has Carol become a puppet? Is she pretending, to get revenge for pity, or inappropriate comfort? When he offers Carol an A grade, is it for sex or to ease the stress that’s upsetting her? Is John on the square or is he sly? Does Carol believe she’s been molested, or exploiting ambiguity, because she can?
Mamet wote Oleanna in 1992 long before the Me Too movement, and there’s definitely vision behind it. He anticipated that a good-hearted political swing could hold the guilty accountable. But sadly, also make way for painting each transgressor with the same brush. Certain exchanges are inserted to raise doubt. At the point that John’s been maligned repeatedly, when he’s been conciliatory, he finally refuses to capitulate. The phone rings. It’s his wife. Carol hears him, she says something that crosses the line. He has a meltdown. He snaps.
Is he accountable for his behavior, when someone sets out to destroy his home and career? There is a viable case to make for Carol, to be sure. But has she become an underhanded bully? Is she bandaging pathological insecurity? Has Mamet inserted this event to further confuse us, or does he believe John is some kind of phony?
The Classics Theatre Project’s production of Oleanna, is canny, disturbing and masterful. The narrative begins gently until it gradually turns tumultuous. Actors Robert San Juan (John) and Devon Rose (Carol) are utterly dedicated to the performance, pulling us into the battle, messing with our minds and hearts. Their energy and spark, rage and nuance are phenomenal. They plant a quandary in our brains, that continues to thrive and flourish, until it cracks our skulls. TCTP has taken on a grizzly bear and opened the cage. Buy a ticket and buckle your seat belts.
The Classics Theatre Project Presents: Oleanna, playing May 17th -June 16th, 2024. Stone Cottage in Addison. 15650 Addison Rd, Addison, TX 75001. (214) 923-3619. tctpdfw@gmail.com. theclassicstheatreproject.com
