By Elyse Trevers
I can’t recall the last time that I was as fascinated by the setting as I was at the revival of American Buffalo at Circle in the Square.
The stage is laden with a hodgepodge of objects in either a pawn shop, consignment shop or just some hoarder’s home. Whatever it is, it is replete with stuff, piled upon tables, seemingly in no order in particular. It’s a wonder that Don, the owner of this junk shop (well-played by Lawrence Fishburne) knows where anything is or what it might be worth.
It’s not surprising that when a stranger comes in, casually picks up a buffalo head nickel and bundles it with other apparently worthless items that Don doesn’t realize that the coin is valuable.
When he finally finds out he’s been taken advantage of, he’s indignant. So he decides to do the ‘thing’ and get it back.
The beauty of playwright David Mamet’s writing is that, although no character ever expressly says what they are planning, the audience knows.
Don has taken young Bobby (Darren Criss) under his wing so Bobby scouts out the man’s apartment and reports that he left with a suitcase. Criss gives a credible performance of a slightly slow-witted young junkie.
Soon Teach (the incredible Sam Rockwell) arrives bristling with energy and anger. An off-comment can set him on a rampage.
In fact, he enters, fuming over a remark a friend made about his taking a piece of toast. Teach has a temper and is quick to anger and hmm-that can’t be good. Rockwell is like a caged animal. and that audience watches him pace back and forth in the densely-packed store, waiting for him to explode. Teach convinces Don that Bobby is inexperienced so he should be his partner instead. and Don agrees, telling Bobby the “thing” is off.
Later that evening, as the two men prepare, Teach pulls out a gun and loads it. His idea of preparation is different from Don’s, who tries to talk him out of carrying a weapon.
When Bobby comes in later with a nickel to sell to Don, Teach thinks he might have already gotten the original nickel back. Bobby’s vague answers make the easily irascible Teach angry. From there, to no one’s surprise, the play turns violent.
In typical Mamet style, the play is liberally sprinkled with harsh language and violence. Teach is misogynistic and makes nasty comments about the women they know. Some of the action is expected, yet things don’t always go the way the audience anticipates.
Rockwell gives a terrific performance. He is like a quick-burning firecracker. The punk begins to smolder and we wait for the explosion, as he paces around the densely packed store.
Rockwell’s energy is contagious and by the end, the audience feels strangely invigorated. Deftly directed by Neil Pepe, American Buffalo is exciting theater, comical and yet tense. It is a strange combination, but it works.