Two comic short plays by one of our most compelling writers.

David Mamet's new Oval Office satire depicts one day in the life of a beleaguered American commander-in-chief. It's November in a Presidential election year, and incumbent Charles Smith's chances for reelection are looking grim. Approval ratings are down, his money's running out, and nuclear war might be imminent. Though his staff has thrown in the towel and his wife has begun to prepare for her post-White House life, Chuck isn't ready to give up just yet. Amidst the biggest fight of his political career, the President has to find time to pardon a couple of turkeys — saving them from the slaughter before Thanksgiving — and this simple PR event inspires Smith to risk it all in attempt to win back public support. With Mamet's characteristic no-holds-barred style, November is a scathingly hilarious take on the state of America today and the lengths to which people will go to win.

In 1913, a young woman was found murdered in the National Pencil Factory in Atlanta. The investigation focused on the Jewish manager of the factory, Leo Frank, who was subsequently forced to stand trial for the crime he didn't commit and railroaded to a life sentence in prison. Shortly after being incarcerated, he was abducted from his cell and lynched in front of a gleeful mob. In vividly re-imagining these horrifying events, Pulitzer Prize-winner David Mamet inhabits the consciousness of the condemned man to create a novel whose every word seethes with anger over prejudice and injustice. The Old Religion is infused with the dynamic force and the remarkable ear that have made David Mamet one of the most acclaimed voices of our time. It stands beside To Kill a Mockingbird as a powerful exploration of justice, racism, and the "rush to judgment."

Dans une Amérique marquée par la question raciale, un bureau d'affaires tenu par trois avocats, deux Noirs et un Blanc, est sollicité pour défendre un Blanc, accusé de tentative de viol sur une jeune femme noire. Tout au long de cette enquête quasi policière, les certitudes se délitent ; lois et principes sont mis à mal, entre domination, uses et manipulations. Renversant les schémas habituels, la peau blanche devient, consciemment ou non, l'objet de haines inédites.

One of America's most provocative dramatists conquers new territory with this droll comedy of errors set in a Victorian drawing room.Anna and Claire are two bantering, scheming "women of fashion" who live together on the fringes of society. Anna has just become the mistress of a wealthy man, from whom she has received an enormous emerald. Claire, meanwhile, is infatuated with a young girl and wants to enlist the jealous Anna's help for an assignation. As the two women exchange barbs and taunt their hapless maid, Claire's inamorata arrives and sets off a crisis that puts both the valuable emerald and the women's future at risk. Mamet brings his trademark tart dialogue and impeccable plotting, spiced with Wildean wit, to this wickedly funny comedy.From the Trade Paperback edition.

In these two moving early plays, David Mamet displays the humor, sensitivity, and ear for language that have made him one of the most celebrated playwrights in American theater today.Reunion depicts the awkward, tender meeting between a father and a daughter drawn together by their loneliness after twenty years of separation. Their cautious small talk, filled with evasion and cliché, gradually exposes the terrifying isolation in which they live, and ultimately, their great need for each other.In the short vignette Dark Pony, a father tells a favorite bedtime story to comfort his young daughter as they drive home late at night. A foray into the realm of legend, the story of a young Indian brave and his trusty horse, Dark Pony has been called “a lovely, tiny moment of a play" by Julius Novick of The Village Voice.

In David Mamet’s latest play, a male college instructor and his female student sit down to discuss her grades and in a terrifyingly short time become the participants in a modern reprise of the Inquisition. Innocuous remarks suddenly turn damning. Socratic dialogue gives way to heated assault. And the relationship between a somewhat fatuous teacher and his seemingly hapless pupil turns into a fiendishly accurate X ray of the mechanisms of power, censorship, and abuse. ReviewJohn and Carol go to it with hand-to hand combat that amounts to a primal struggle for power. As usual with Mamet, the vehicle for that combat is crackling, highly distilled dialogue unencumbered by literary frills or phony theatrical ones. Frank Rich, International Herald Tribune An ear for reproducing everyday language has long been David Mamet's hallmark and he has now employed it to skewer the dogmatic, puritannical streak which has become commonplace on and off the campus. With Oleanna he continues an exploration of male-female conflicts begun with Sexual Perversity in Chicago in 1974. Oleanna cogently demonstrates that when free thought and dialogue are imperilled, nobody wins. Michael Wise, Independent About the AuthorDavid Mamet is one of the most distinctive voices on the contemporary American stage. He was born and had his first and many subsequent plays premiere in Chicago. His screenplays include: The Postman Always Rings Twice, The Verdict, The Untouchables, We're No Angels and Glengarry Glen Ross; he was writer and director for House of Games, Things Change and Homicide.

Speed-the-Plow is an exhilaratingly sharp, comical, disturbing play about the power of money and sex in Hollywood, and how they corrupt two movie producers. Speed-the-Plow opened at Lincoln Center to sold-out seats, rave reviews and much fanfare in March 1988—staring Madonna, Joe Mantegna, and Ron Silver—and later moved to and had a long-standing run on Broadway.

American Buffalo, which won both the Drama Critics Circle Award for the best American play and the Obie Award, is considered a classic of the American theater. Newsweek acclaimed Mamet as the “hot young American playwright . . . someone to watch." The New York Times exclaimed in admiration: “The man can write!" Other critics called the play “a sizzler," “super," and “dynamite."Now from Gregory Mosher, the producer of the original stage production, comes a stunning screen adaptation, directed by Michael Corrente and starring Dustin Hoffman, Dennis Franz, and Sean Nelson.A classic tragedy, American Buffalo is the story of three men struggling in the pursuit of their distorted vision of the American Dream. By turns touching and cynical, poignant and violent, American Buffalo is a piercing story of how people can be corrupted into betraying their ideals and those they love.

In The Old Neighborhood David Mamet confirms his stature as a master of the American stage, a writer who can turn the most innocuous phrase into a lit fuse and a family reunion into a perfectly orchestrated firestorm of sympathy, yearning, and blistering authentic rage.              In these three short plays, a middle-aged Bobby Gould returns to the old-neighborhood in a series of encounters with his past that, however briefly, open windows on his present. In "The Disappearance of the Jews," Bobby and an old buddy fantasize about finding themselves in a nostalgic shtetl paradise while revealing how lost they are in their own families. In the comfort of her kitchen, Bobby's sister "Jolly" unscrolls a list of childhood grievances that is at nice painful and hilarious. And the old girlfriend in "Deeny," faced with a man she once loved, finds herself obsessively free-associating on gardening, sex, and subatomic particles. Swerving from comedy to terror, from tenderness to anguish—with a swiftness that unsettles even as it strikes home—The Old Neighborhood is classic Mamet.Review“Searing…heart-piercing…haunting and original…[Mamet’s] most emotionally accessible drama to date,”—The New York Times “Elegant and beautiful…David Mamet’s autobiographical play is full of laughter and lament.”—The New Yorker“[Mamet’s] most personal, haunted and haunting play.”—Newsday “Riveting… luminous…beautifully rendered…a significant development in Mamet’s career.”—San Francisco ExaminerAbout the AuthorDavid Mamet is a world-leading author, playwright and screenwriter, whose many awards include the Pulitzer Prize, Joseph Jefferson Award, Obie Award, New York Drama Critics Circle Award and Tony Award. Many of his plays are considered modern classics and include Glengarry Glen Ross, Oleanna, Edmond, The Cryptogram and Speed the Plow.

Five unique short plays for television by one of America's most celebrated playwrights. A 'Waitress in Yellowstone' (or: 'Always Tell the Truth') is a parable about an honest waitress and a corrupt congressman. In Bradford, a new police chief arriving in a small New England town is plunged into the midst of its cozy secrets and uncovers the truth behind his predeces­sor's mysterious fatal hunting accident. The Museum of Science and Industry Story is a fantasy about the adventures of a man locked in a museum overnight. A Wasted Weekend is a 1987 episode of Hill Street Blues focusing on four cops and their ill-fated hunting trip. In We Will Take You There, Danny and Mike, partners in an unusual “taxi service to the wilds," offer themselves as guides to the most remote areas of the world.Displaying Mamet's characteristic ear for language and unsettling moral vision, these plays are among his darkest, funniest, and most entertaining.Includes:'A Waitress in...

In these mordant, elegant, and often disquieting essays, the internationally acclaimed dramatist creates a sort of autobiography by strobe light, one that is both mysterious and starkly revealing.The pieces in The Cabin are about places and things: the suburbs of Chicago, where as a boy David Mamet helplessly watched his stepfather terrorize his sister; New York City, where as a young man he had to eat his way through a mountain of fried matzoh to earn a night of sexual bliss. They are about guns, campaign buttons, and a cabin in the Vermont woods that stinks of wood smoke and kerosene -- and about their associations of pleasure, menace, and regret.The resulting volume may be compared to the plays that have made Mamet famous: it is finely crafted and deftly timed, and its precise language carries an enormous weight of feeling.From the Trade Paperback edition.

In this gripping short play, David Mamet combines mercurial intelligence with genuinely Hitchcockian menace. The Cryptogram is a journey back into childhood and the moment of its vanishing—the moment when the sheltering world is suddenly revealed as a place full of dangers.            On a night in 1959 a boy is waiting to go on a camping trip with his father. His mother wants him to go to sleep. A family friend is trying to entertain them—or perhaps distract them. Because in the dark corners of this domestic scene, there are rustlings that none of the players want to hear. And out of things as innocuous as a shattered teapot and a ripped blanket, Mamet re-creates a child terrifying discovery that the grownups are speaking in code, and that that code may never be breakable.Review“First-rate…spooky, elliptical, full of wit. . . . Not in any stage literature that I know has childhood been as movingly evoked as it is in The Cryptogram.” —Vincent Canby, The New York Times “Heart stopping. . . . Where other dramatists are writing melodrama about the dysfunctional family, Mamet has written high tragedy.” —Iris Fanger, The Boston Herald“Powerful. . . . His most personal work. . . . A whodunit with the it waiting to happen. . . . Spooky and exciting.” —Jack Kroll, Newsweek“Daring, dark, complex, brilliant. . . . I suspect that in time it will take its place among Mamet’s major works.” —John Lahr, The New YorkerFrom the Inside FlapIn this gripping family tragedy, the Pulitzer Prize-winning author of Glengarry Glen Ross endows ordinary language with Hitchcockian menace and Kafkaesque powers of disorientation. This intriguing play is a journey back into childhood and the moment of its vanishing--the moment when the sheltering world is suddenly revealed as a place full of dangers.