Glengarry Glen Ross is the story of four Chicago salesmen who work together selling undesirable real estate at inflated prices. The play takes place at the end of a month in which the bosses of the company, Mitch and Murray, have declared a "sales contest": The salesman who clears a certain high dollar amount will win a Cadillac, the next a set of steak knives, and the two salesmen who perform worst will be fired. In the dog eat dog world of sales, who would you trust?
There are no scheduled performances of this production.
Paul Nelson - Glengarry Glen Ross - Readthrough and auditions 1/11/2012
Readthrough - Wednesday, 22 February 2012 Audition - Wednesday, 29 February 2012 Both events will take place at Avonbourne School, starting at 7.30pm Contact us for more details - email@example.com
Paul Nelson - Read through & Auditions 2/20/2012
Read through this week at Avonbourne School on Wednesday 22 February starting at 7-30pm. Auditions are a week later on Wednesday 29 February, same time and place. Even though the script specifies an all male cast, I am considering the possibility of having some female characters. Please come along if you are even just remotely interested, if you have done productions with us previously or not. We love to see new people get involved and there are no joining, membership or auditioning fees, everything is free. Arena has a policy of no pre-casting which operates for all productions.
Paul Nelson - Still casting 3/12/2012
We need males. At present we have not cast the parts of Dave Moss or George Aaronow. If you are interested in playing these roles then please get in touch. You can leave a message via the website or contact me direct on firstname.lastname@example.org or phone on 07528 536899
Paul Nelson - Tickets 4/18/2012
Tickets for the Bournemouth Little Theatre performances are now on sale. To reserve simply leave a message on this site, or email me on email@example.com or call on 07528 536899. Tickets are £10-00 (£9-00 concession)
Paul Nelson - First performance 6/12/2012
Shaftesbury Arts Centre were as brilliant as even. The shape of the space and theatre in general created a different dynamic to the piece. I think we are going to find this at every venue. Avonbourne has a very close proximity to the audience, thus adding to the rawness and energy of the piece, and Bournemouth Little Theatre's tight space on stage should bring something else altogether. A couple of points was brought up on Saturday, especially to do with the use of voice; diction and occasional projection. This is somethng we discussed at the rehearsal on the Monday after the performance. It's that fine balance of getting the piece to flow and appear as natural as possible and then combine it with basic stagecraft. Mamet's dialogue doesn't easily lend itself to basic stagecraft, so its a tough act to balance. Who should the performance be more faithful towards, the playwright or the audience? Are people coming to a Mamet play coming with certain expectations? All interesting questions, all with no right nor wrong answers, only ways and better ways to get the final result. From the director's point of view I was very happy with the 'reactioning' on stage. I certainly got the feel that the actors were listening to each other and then responding accordingly. The tough job now is to ensure that this does not happen again and that these same reactions are evoked. Indeed, it wouldn't be a reaction in this case, it would be an action, an empty gesture.
Paul Nelson - Last chance to see... 6/18/2012
Catch the final three performances of Glengarry at the Bournemouth Little Theatre from Thursday 21 to Saturday 23 June, starting at 7-45pm. Tickets can be reserved on firstname.lastname@example.org or phoning 07528 536899. Go on, take a chance, read the review and come along
OKAY. Please be prepared to be fed with a surfeit of superlatives after one of the best nights of local theatre I’ve had in recent times. Glengarry Glen Ross, by David Mamet, is a gritty play which explores the stresses and pressures of selling property for a Chicago real-estate agent. It is a well-known play, thanks to the 1992 film, which has what can only be described as a stellar cast. Because of this, it is a big ask for any amateur theatre company to pull it off with any degree of success and departure from the aforementioned movie. Arena not only carry it off, but they give a game-changing performance, which does not attempt to mimic the film, but re-defines it for the stage and gives newer and fresher dimensions to the story and to the characters within. Before the play begins, we are treated to some Windy City-esque trumpet jazz, which puts ones mind in the area and the era. Then, the play opens with a scene which is not part of the stage play, but is part of the film and Director Paul Nelson has chosen to re-enact. This 8 minute scene, for which Alec Baldwin, as Blake, received many plaudits, is served as an hors d'oeuvre to the main event of the play with wonderful effect. Charlotte Peach, as Blake, re-defines, but does not lose the edge of this character and gives us, straight away, a feel of what is expected in this high-octane, high pressure world. Her performance is brief in the context of the play, but is powerful enough to stay in the mind throughout as we watch the burden of this stressful environment affect each character in different ways. The first half of the play is dominated by duologues. First, we visit with Levine and Williamson. Levine used to be a super salesman but has fallen out of favour, having not had a ”hot streak” for a long while. Barry Gunner gives us a full dose of angst and desperation with a heart-wrenching performance, whilst Gareth Richards, as the office manager Williamson, shows veiled contempt and corrupt disdain for his colleague. A piece of acting that uses facial expression and movement along with very well-measured vocalising. Next, we are presented with two sets of alternating duologues between Aarnow and Moss, and Roma and Lingk. The former pair, portrayed by Declan Lees-Smith and Grant James Mace, give us a masterclass in conversational acting. The overlapping of lines that they give make one really feel that we are witnessing a conversation, rather than two actors delivering lines. This is no easy task to perform and done wrong can become incoherent and messy, but done absolutely right, as this is, gives us the full content of what’s being discussed and makes the pace sizzle. The acting from both, throughout the play, is a joy to watch. As Roma, Sean Beaumont excels. His character, the super salesman dominates the conversation, with Gerry Carroll as Jim Lingk, the hapless client, interjecting with lovely little reactions. In the second act, where all the actors come and go within the same whole-act scene, Sean Beaumont gives one of the best performances I’ve seen in amateur theatre, running between anger, confidence and desperation. It was a joy to watch and I found myself mesmerised. But he wasn’t alone at the top of the acting tree. Everybody gave beautifully timed and measured performances throughout, with Barry Gunner going from elation to deflation wonderfully, Gareth Richards coming back and forth from the “office” and , for me, carrying the pace of the whole scene to a crackling level with his timing, acting and reaction, plus a cameo from the director which delights. Thanks to the pace, this is a relatively short play, which had me driving home, still in daylight, which was nice. I only have two gripes about this play. One minor, one major. The minor gripe is so small I’m almost loathe to type it, but the sound-effect in the “rain” scene was a touch too loud. Only a touch, mind, and the level may well be correct for a different venue. But this in no way detracted from the body and feel of the scene. The major gripe? Well, it may not even exist, and here’s why. It’s down to you… yes, YOU, dear reader. This play will be showing at the Bournemouth Little Theatre, Jameson Road, Winton, next Thursday to Saturday, 21st to 23rd June. If there are ANY unsold tickets, and you haven’t seen it, then you will have missed a chance to watch theatre at its very best and should be thoroughly ashamed of yourself. You will only have yourself to blame, so PUT THAT COFFEE DOWN, and get over to BLT before it’s too late.