Glengarry Glen Ross – Old Vic, London

Writer: David Mamet

Director: Patrick Marber

David Mamet’s Glengarry Glen Ross first premiered in 1983. Since then, there has been a film adaptation and multiple revivals on stage, including a Broadway production last year with Kieran Culkin, Bob Odenkirk and Bill Burr at the helm. Patrick Marber’s version sees an all-female cast take on the personas of the sleazy salesmen in this experimental revival.

Set in a real estate office in Chicago, the impending sales competition is on everyone’s minds, desperate to get on the board and win a new car. Laverne (Indira Varma) is at a loss; the leads he’s getting are duds, he has two daughters to provide for, and he’s begging Williamson (Dorothea Myer-Bennett) for a deal on the premium leads so he can finally break his dry spell. On the contrary, Roma (Rosa Salazar) is flying, at the top of his game and eager to let everyone know it. But when the office gets robbed, and the leads disappear overnight, how will they cope, and who is to blame?

Glengarry Glen Ross is constantly revived for a reason; the sharp, captivating character writing and the flurry of frantic desperation on the sales floor make for a fascinating watch. None of the characters is likeable: cocky, machismo-driven, discriminatory, shady individuals. But, while you wouldn’t want to work with them, watching them as they panic and quickly unravel is excellently entertaining. Performing in the round allows the chaotic aspects of the script to fully immerse the audience, as the cast pace all over the stage with an intensity that completely draws you in.

Utilising an all-female cast to portray the originally heavily masculine roles is an exciting directorial choice, but curiously never quite finds its footing, which is to the detriment of the overall experience. It never fully leans either way, instead straddling the line between expectations and creating somewhat of a confusing portrayal. Names (John, Ricky, George etc) are kept from the original, as are phrases about their balls and being a man. But those same characters are decked out in high heels, with big blowouts and handbags, looking the picture of 80s femininity. Some characters, such as Roma and Laverne, are very masculine in their portrayal with their wide-legged swagger and feet kicked up on the desk, while others are inherently more feminine with their mannerisms, which poses the question of what effect Marber wants to achieve as a whole, because the intention isn’t fully clear.

That being said, the cast is exceptional and does a fantastic job of hooking the audience into the murky world of real estate. Salazar is a powerhouse; her self-assured confidence as she portrays the egotistical Roma perfected in every line. Niky Wardley as Moss is equally as entertaining, her quick, bullish energy and well-timed line delivery as she tries to manipulate the humorously unsure Aaronow (Nancy Crane) spot on. Varma and Dorothea Myer-Bennett (Williamson) have brilliant chemistry, showcasing the power shifts between the down-on-his-luck Laverne and the in-control Williamson, balancing the energy from each other well. Although Mercedes Bahleda (Lingk) and Florence Odumosu (Baylen) have slightly smaller roles as a customer and a police officer, they still manage to make an impact with their focused, distinct character portrayals.

‘Always be closing’ is famously quoted in the film adaptation – and although this production comes extremely near to sealing the deal due to the high level of talent from the cast, it doesn’t quite get it over the line, so it’s a case of almost ‘be closing’ this time around instead.

Runs until 18 July 2026