‘Glengarry Glen Ross’ draws parallel to living in fragile times

WASHINGTON — Scoff if you will at the wisdom of staging “Glengarry Glen Ross” at this time of year.

Ironically, David Mamet’s 1983 Pulitzer Prize-winning drama is an ideal reminder of the fragility of prosperous times.

Anyone who has ever encountered low-level, “strictly on commission” salesmen desperately peddling undesirable goods may well recognize the posturing, egotism and bombastic nature of these Chicago real estate agents.

As they talk, argue and debate, it’s clear that each sale not only represents a boost in the men’s personal finances but in their personal self worth. Lies, bribery and even theft are all fair tactics to lure buyers to sign on the dotted lines.

This production puts the stakes front-and-center during the first act, when down-on-his-luck Shelly “The Machine” Levene (Kevin Adams) begs, pleads and almost prostrates himself in front of young-and-cocky office manager John Williamson (Colin Smith). Smith is spot-on as he grows increasingly cold and dismissive as Levin’s pleas for the company’s top sales leads grow more distressing.

When watching the scene, set in a dilapidated Chinese restaurant, it’s difficult not to bring to mind today’s economy, which has set many on a deathwatch for their own jobs.

Set designer Jacob Muehlhausen has wisely flavored this eatery with just enough greasy spoon motif — a garish red booth and sagging paper lantern — to complement the salemen’s down-at-the-heels existence. Yes, it’s nearing the skids, but just a modest influx of cash could turn it all around.

Likewise his depiction of the men’s office — complete with garishly decorated Christmas tree, bargain-bin wreath and empty water cooler — are ideal reflections of the men’s existences.

Mark Rhea steals the show as top salesman Ricky Roma, playing the part of top-of-the-has-been-heap salesman with aplomb. Whether he’s coddling defeated salesman Aaronow, played brilliantly by Stan Shulman, or listening to Levene’s boasts, Rhea’s Roma balances the charisma of a top-seller with a just-below-the-surface bubbling anger.

Costume Designer Erin Nugent has brilliantly complemented the production with details in the men’s attire including dressing Roma in a suit that’s just a bit nattier than the others. In contrast Aaronow, wearing a cheap, holiday-themed tie and toting a soft-sided gray briefcase, is every bit the washed-up loser.

The production’s only true sour note came when detective Baylen (Bill Aitken) was played in such a way that he became a jarring caricature.

But that’s a minor quibble.

“Glengarry Glen Ross” is like a holiday package — lovely to see with a meaningful message attached.

“We are members of a dying breed,” Roma repeats several times.

If only it were true.

If you go
Production: Glengarry Glen Ross
Where: Church Street Theatre, 1724 Church St. NW
When: Now through Dec. 20
Info: $25 to $30; 703-892-0202, ext. 2; www.keegantheatre.com