Pulitzer Prize winning playwright David Mamet's Romance is an uproarious, take-no-prisoners courtroom comedy that gleefully lampoons everyone from lawyers and judges, to Arabs and Jews, to gays and chiropractors.
It's hay fever season, and in a courtroom a judge is popping antihistamines. He listens to the testimony of a Jewish chiropractor, who's a liar, according to his anti-Semitic defense attorney. The prosecutor, a homosexual, is having a domestic squabble with his lover, who shows up in court in a leopard-print thong. And all the while, a Middle East peace conference is taking place. Masterfully wielding the argot of the courtroom, David Mamet creates a world in microcosm in which shameless fawning, petty prejudices, and sheer caprice hold sway, and the noble apparatus of law and order degenerates into riotous profanity.
About the Author
David Mamet was born in Chicago in 1947. He studied at Goddard College in Vermont and at the Neighborhood Playhouse School of Theater in New York. He has taught at Goddard College, the Yale School of Drama, and New York University, and lectures at the Atlantic Theater Company, of which he is a founding member. He is the author of the plays The Cryptogram, Oleanna, Speed-the-Plow, Glengarry Glen Ross, American Buffalo, and Sexual Perversity in Chicago. He has also written screenplays for such films as House of Games and the Oscar-nominated The Verdict, as well as The Spanish Prisoner, The Winslow Boy, and Wag the Dog. His plays have won the Pulitzer Prize and the Obie Award.
“It made me weep with delight. . . . Romance is funny. Extremely funny.”
–Terry Teachout, The Wall Street Journal
“A wild ride. . . . An outrageous, hectic comedy composed in the hyperliterate profanity that made him a legend. . . . For fans of Mamet at his most joyfully vicious, it’s everything you ever wanted.” –New York
“An exhilarating spectacle. . . . Inspired folderol. . . . Mamet . . . is a connoisseur of fiasco.” –The New Yorker
“A joy. . . . A fiesta of forbidden laughter. . . . A giddy, glorious, bad-taste valentine. . . . The most skillfully constructed farce since Michael Frayn’s Noises Off.” –Newsday