In college some people decide to major in some form of ethics -- biomedical, political, environmental, etc. But is there a school for criminal ethics? One that teaches the student, under the guidance of a notable professor, how to crack a safe, break and enter, or tell the worth of an item just with one glance?
Regrettably, no, unless you count the streets as a school. Live Arts' newest production will offer viewers schooling in criminality with David Mamet's American Buffalo.
Largely character-driven, the play revolves around three men planning a heist. Don (Steve Tharp), is the ringleader; he owns the resale shop in which the action of the play takes place. His personality is that of a slick, neighborhood older man, who seems somewhat innocent, but still really sketchy. His slimeballesque personality can symbolically be seen in how matted-down his hair is, and how the gel takes on a helmet appearance under the stage light.
Tharp was exciting to watch; his constant interaction with the other characters made me want to sympathize for him. At the same time, however, it was easier to separate myself from his scheming character because the play's lines constantly referred back to "what was going down at 11 p.m."
The distancing factor influenced everything I felt for not only Don's character but also that of his "Gopher Boy," Bobby.
Bobby (Philip Green) was originally supposed to carry out the heist himself; Don and Teach (Michael Volpendesta), the last of the holy trinity, however, felt that it was too big a job for him. Bobby tries to plead with the other two gents about doing the job, but ends up getting pistol whipped in the process.
Bobby, or rather Green's portrayal, was similar to a burnout/stoner. He had an incredibly short-term memory, which was funny at first, but soon got extremely annoying. It is never fully stated where Bobby came from or why he is working in Don's shop. However, he does periodically ask Don for money, (swindles would be a better term) and the audience, along with Teach and Don, never knows where the money is going.
Bobby is always late with some kind of appointment or he needs money to do "stuff," which is why I am praying that it was to buy some grass off of a hobo man down the corner. If not, then Bobby's character lost all care from me. He never acted "stereotypically stoned," he was just ungodly awkward, off-handish, and dumb. I would prefer drugs as a result, instead of poor character choices on the part of the actor.
The last of the triumvirate is Teach who ended up being my favorite character of them all. He has a delayed entrance in which Bobby and Don discuss him in detail. From their descriptions, Teach is a dirty s.o.b. In every way that Don is subdued and almost the "coolest" of the characters, Teach is the opposite. He is a live wire, capable of doing anything he wants -- destroying Don's shop towards the end of Act II, pulling a gun, pistol whipping Billy and always saying "f*ck" as a constant habit are just some of his high points.
Mamet is known for not being the cleanest of contemporary playwrights, so straight-laced Suzy better leave her prudent-conservative-tight ass at home, because if the plot of the story doesn't make you uncomfortable then the language certainly will.
So if you find foul language or illegal activity offensive this show is not for you, neither is college so you might as well drop out and go to Liberty.
Overall the show was captivating, the set was beautiful, and the acting was enjoyable, especially the yogurt scene. A great show to take your friends to, or even your family, unless you're holy rollers then you might as well just stay home and listen to NPR. But then again, is the crime and language on the radio any different than that in the play? Happily, no, it is the play in a different setting with a different cast.
American Buffalo trots through Live Arts till Oct. 20. For tickets/info call 434.977.4177.
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