Real estate salesman Shelley Levene was once the king of closers. But now? He’s stuck with what he calls “dreck” — Yiddish for garbage — leads, trying to sell property to people who couldn’t afford a studio apartment in the sticks. In the electric new revival of “Glengarry Glen Ross” at the Palace Theatre on Broadway, Levene is desperate for redemption. When he’s tempted to steal a set of lucrative leads in exchange for a potential job at a rival firm, the play ignites into a fast-paced, foul-mouthed thrill ride.
Bob Odenkirk, best known for his role as Jimmy McGill/Saul Goodman in “Breaking Bad” and “Better Call Saul”, plays Levene with a masterful blend of tragic comedy and desperation to fight the foul stench of desperation and failure. You feel his panic in your bones.
Inside ‘Glengarry Glen Ross’: Odenkirk, Culkin, and Burr reignite Mamet’s classic
Written by Jewish playwright David Mamet, “Glengarry Glen Ross” is legendary for its quick-cut dialogue, relentless profanity, and razor-sharp examination of capitalism. There’s a reason why Mamet won a Pulitzer Prize for Drama for the play. When it premiered in 1984, the play cemented Mamet as one of the most influential voices in American theatre. Its 1992 film adaptation — featuring Al Pacino, Jack Lemmon as Levene, Ed Harris, and Alan Arkin — gave us the unforgettable Alec Baldwin cameo and the infamous “Always Be Closing” speech in which he tells them that coffee is only for closers, and threatens his employees with being fired.
While the film is set in New York, the play remains firmly grounded in Chicago. This latest revival, directed by Patrick Marber, updates the casting and energy while staying true to Mamet’s brutal rhythm and tone.
Why this revival works
It’s rare to have three stars in their prime align on one Broadway stage. Kieran Culkin, fresh off his Oscar for Best Supporting Actor playing a Jewish man who visits a death camp in “A Real Pain,” doesn’t go as wild as Pacino. But he brings his signature edge and idiosyncratic charm to the role of Ricky Roma, the firm’s top salesman. Channeling his “Succession” swagger, Culkin controls the stage with just a flick of his hair and a twist of his voice.
Culkin and Odenkirk have good chemistry in a scene toward the end of the play, with Levene pretending to be a customer to help Roma land a sale. Their chemistry crackles — equal parts comedy and tragedy.
Meanwhile, comedian Bill Burr is extremely funny in his role as Dave Moss, the hothead who tries to rope Levene into a criminal scheme. Culkin will certainly get a Tony nomination and Odenkirk may get a nomination for Best Supporting Actor over Burr, as his character is quite similar to his standup persona. Burr’s raw delivery and timing earn real laughs, but Odenkirk’s emotional arc may be what earns the Tony nod.
What’s ‘Glengarry Glen Ross’ really about?
On the surface, it’s simply about Chicago real estate salesmen trying to peddle worthless land to unsuspecting clients. But peel back the layers, and Mamet delivers a scathing critique of American cutthroat capitalism, masculinity, and moral decay.
The questions linger: Is a man only as good as his last sale? Can someone justify lying, cheating, and manipulating if it’s “just business”? And what happens when your worth is measured only by what you produce, not who you are?
One character faces a tragic downfall over his moral rot. He seems to be getting away with robbing the office until he makes a fateful error when insulting someone else. He lets a key piece of information slip that only the thief could have known, and he is busted.
There’s even a philosophical twist worthy of a Talmudic debate: Is a man guilty if he merely listens to a criminal plot but doesn’t act? Or is the listening itself a form of complicity?
Culkin shows his star power as Odenkirk anchors the show
Culkin has a standout moment in a long-winded, mesmerizing monologue in which his character rants about life, death, sex, cheating, and even bathroom habits — all before landing the sale pitch. It’s great writing and acting. Culkin gives it a more humorous take than Pacino, but it still works well; his comedic timing makes the absurdity feel profound.
Odenkirk’s role is more emotionally complex, and he shines in a final scene in which he attempts to evoke understanding. The play gives a slight nod to Willy Loman, the lead of Jewish playwright Arthur Miller’s “Death of a Salesman,” a man clinging to past glory, desperate to prove he still matters.
A (slightly too) big stage for a big play
“Glengarry Glen Ross,” which gets its name from two pieces of property being sold, is nearly flawless. The only real drawback is the scale of the production.
It’s a play with little action, and the tension comes through the dialogue. The Palace Theatre’s large stage sometimes saps the tension from Mamet’s claustrophobic dialogue. This is a play that thrives on pressure-cooker intensity, and a more intimate venue might have packed a greater punch. That said, the tradeoff is more seats, and given the star-studded cast, no one can blame the producers for going big.
