With Mamet, one is instantly struck by the precise demands of his rhythmical dialogue. I remember when working on Sexual Perversity in Chicago, actor Hank Azaria saying he felt like Mamet had turned him into a musical instrument. Indeed, all his plays are clearly influenced by musical ideas, resolution phrasing and terse crosscut exchanges. He has a marvellous ability to capture the rhythms, intonations and idiomatic peculiarities of living speech and then distil them into poetry. His language, like Shakespeare's, has a visceral effect on the audience.
Sunday, September 04, 2005
David Mamet is America's greatest living playwright, argues theatre director Lindsay Posner in The Observer.