Post Gazette: The excitement is still vivid from David Mamet conquering Pittsburgh back around 1980, with the punchy dialogue and dark comic insight of "American Buffalo" and "Sexual Perversity in Chicago" at Fine Line and City Theatre.
Next came "Glengarry Glen Ross," another Pittsburgh favorite, and "Speed-the-Plow." Then came something new, the ideological explosion of "Oleanna," which was an assault on feminism and perhaps a sly explosion of male insecurity, as well. "Oleanna" was more provocation than play.
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I agree with the reviewer that 'Race' does seem like a debate between the characters about 'Race', but I don't think that makes it a bad play. It seems that 'Race' does not exist to make a statement, but rather exists to get a conversation started. In the end, no one wins. All the characters have done something wrong, and they have all lost something. I commend the reviewer that admitting that he just be "less willing to face the politics of race." 'Race' closed quite quickly on Broadway (after about a year of being open), I think because there are a lot of audience members who cannot face the politics of race, and have a play pretty much tell them that they are probably a little racist.
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