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A Wench In The Works

In 1963, James Brown declared, “it’s a man’s world.” Playwright and director David Mamet would suggest that maybe the world is not entirely men’s anymore, but the business world certainly is. Moreover, when women enter the male domain of business, they do not understand the basic rules of this male-dominated area of American existence. As a result, women befoul the ability of business to function correctly. Mamet implies that males and females are opposite sexes and that business is a male endeavor—therefore women are antithetical to business (Greenbaum 33). Women, ignorant of proper business procedure, use their sexuality to trap the man to exert the will of the woman. Once the woman traps the man, the man becomes emasculated—he loses whatever claim he had to continue being seen as a man working in the men’s world of business. In Glengarry Glen Ross, Speed-the-Plow, and Oleanna, Mamet retains a central theme: if men did not have to deal with women, business could operate unhindered.

First, though, one must consider Mamet’s beginnings. David Mamet was born on November 30, 1947, in Chicago, Illinois. His parents were Bernard Morris Mamet, an attorney, and Lenora June Silver, a teacher. Through his life


In the first act, Carol comes to John to ask about how to possibly improve her failing grades. Carol, as a student and a person, is an utter imbecile. Her failing grades come from the fact that she cannot grasp what is obvious about higher education—professors exist to help students question previously held beliefs and push the students to create original thoughts and beliefs. When John continues to lecture to Carol in a college-level fashion, she cannot understand. John then tries to relate to Carol as equals, to “take of the Artificial Stricture, of ‘Teacher,’ and ‘Student’ […]” (Oleanna 21). However, all is to no avail. During this time, the tenure board is considering awarding tenure to John, and so John decides to seek a new house for his family. While John tries to help Carol, he is constantly interrupted by calls concerning his new house. John’s attempt to focus on Carol’s problem when he did not have to shows John’s commitment to helping Carol.

Gould’s secretary on this momentous day is ill, so Karen, a temporary worker, takes her place. Fox bets Gould that Gould cannot possibly lure Karen into bed. Consequently, Gould gives Karen a book and invites her to discuss the novel at his home. This book was given to Gould by the head of the studio to read and tell the head what the book was about. Thereby, the studio can tell the author that they cannot make the movie, which had been the intention from the start. Now, though, Karen will read the book and discuss the novel with Gould.

Mamet graduated from Goddard College, a small liberal school in rural Vermont, with a Bachelor of Arts degree. Nary four years out of school Mamet founded the St. Nicholas Theatre Company in Chicago. During those four years, Mamet was an artist-in-residence in drama at Goddard. In the following years, Mamet became associate artistic director at Chicago’s Goodman Theatre and taught at Yale, New York University, and Columbia. Mamet’s first play, Lakeboat, was produced in 1970. Since that point, Mamet has written and directed a number of plays and movies. Mamet has also received numerous awards and nominations, including the Pulitzer Prize and a Tony award nomination for Glengarry Glen Ross, and a Tony award for Speed-the-Plow. In addition, Mamet’s span of employment has included being a taxi driver, an office cleaner, and a window washer. He has also worked in a truck factory, a canning plant, and spent a year at a real estate agency (“David (Alan) Mamet”

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Approximate Word count = 1694
Approximate Pages = 7 (250 words per page double spaced)


  

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