Carmel Community Players is currently producing its last show on its Clay Terrace stage: David Mamet’s American Buffalo. Buffalo was a special addition to the company’s season, and it was slated to run only two weekends, a coincidence that is almost prescient of CCP’s unexpected upcoming move. CCP is looking for a space to complete its season — Ragtime, Is He Dead?, and Kitchen Witches — as well as a permanent home.
The play is typical Mamet style: exclusively dialogue driven with bow-string-tight tension. Set in a little junk shop, its proprietor, Donny (Larry Adams), is agonizing over a buffalo nickel he recently sold. He feels he was grifted into letting it go for far less than what it was worth. So Donny is planning to remedy the problem by taking the nickel back. He’s been having his employee, Bobby (Daniel Shock), stake out the mark’s house, and Bobby has just reported that the man has left with a suitcase, which means he will be gone for some time. Donny is ready to put his plan into motion when his friend Teach (Earl Campbell) shows up. Teach wants to be the one to pull off the burglary (and a cut of the profit), and he uses Bobby’s naiveté as his argument. Donny agrees to let Teach do the deed but only if he takes their other friend, Fletcher, with him. However, best laid plans and all that …
Director Lori Raffel has the toughnut trio moving at a quick clip, never letting the audience get mired down by the deluge of words. Keep up! There is character commentary to be found if you dig deep enough for the prize, like in a Cracker Jack box, that also invites people to confront their own ineptness.
Adams and Campbell create lowbrow braggadocios that are comical in their complete conviction that they can pull this plan off. Each approaches his character differently however. Adams’s Donny sees himself as the intellectual, the mission control of the heist so to speak, while Campbell is all action and swagger. Adams gets to exhibit some common sense in his treatment of Shock’s character, Bobby, who is a bit dim but means well, but Campbell gets to serve his Teach with a side of sleaze.
My only quibble is that sometimes it’s hard to hear what the actors are saying. In a show where language is key, projection and enunciation are paramount.
If you are up to Mamet-speak, this is a well-done production that deserves a last hurrah in Clay Terrace.
Check out Lisa Gauthier Mitchison's theatre reviews here.