Press Release: “House of Games” Stages a New Con, but Lacks a Strong Punch
In 1987, amidst a culture primed for deception, playwright David Mamet introduced audiences to a world of trickery in his film House of Games. Now, Richard Bean’s stage adaptation attempts to channel that energy, albeit with mixed results.
At the heart of the story is Margaret, a psychotherapist drawn into the web of conman Mike. The adaptation retains the original’s plot but amplifies the comedic elements through Mike’s entourage, which ultimately lacks the charm to sustain interest. Set against Ashley Martin-Davis’s two-level stage design — a sleek therapist’s office above and a gritty bar below — the visual dynamics promise excitement but fall short in execution.
Director Jonathan Kent and lighting designer Peter Mumford manage an impressive early switch, creating a visual twist that outshines the ensuing narrative. Bean ingeniously reframes relationships in the script, echoing themes from other Mamet works, notably through the character of Billy, a nervous gambler and Margaret’s surrogate son. This familial triangle culminates in a striking confrontation that mirrors classical Oedipal themes.
However, the production struggles to blend Mamet’s sharp, austere style with Bean’s broader comedic approach, evoking an “emaciated figure in a baggy suit.” The ensemble scenes, while ambitious, lack focus, draining tension from key moments and diminishing the impact of the cons.
Despite spirited performances from Lisa Dillon as Margaret, Richard Harrington as Mike, and especially Oscar Lloyd as Billy, the overall effect resonates as low-stakes theater. As Mamet himself ventures into unexpected territory, this adaptation challenges not just the characters on stage, but also those in the audience awaiting a genuine twist.
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