The stage lights blaze to life at London's Old Vic theatre, where David Mamet's gritty drama Glengarry Glen Ross has been reborn with a twist: an all-female cast that swaps the cutthroat American real estate salesmen for their female counterparts. This bold decision, sparked by Mamet himself, raises questions about what this "game-changing" move really achieves – does it bring fresh insight or merely dress-up theatre?
The wardrobe choices are a visual cue to the actors' deliberate performance of masculinity, with some donning power suits while others slip into more feminine attire. This striking contrast is meant to create distance between actor and character, but critics argue that it tips into over-the-top territory, sacrificing the original's darker edge for a dash of campy fun.
Indira Varma brings her own brand of firecracker energy to Levene, the veteran salesman on a losing streak. While Jack Lemmon's portrayal in the 1992 film adaptation left us with a tragic, Willy Loman-esque sense of loss, Varma's interpretation is more apoplectic fool than tragic figure – it's an entertaining take, but one that sidelines the deeper despair and tragedy at the heart of Levene's struggle. On the other hand, Rosa Salazar shines as Roma, the office alpha, with a smooth, confident air that commands attention without demanding sympathy.
The decision not to modernise the corporate setting leaves some scratching their heads – in an era where Industry shows women wielding power just as ruthlessly as men, why don't we see female analogues of Mamet's capitalists? Why not explore how women entering a male domain might be forced to adopt masculine behaviours rather than simply impersonate them?