Playwright David Mamet is known for his misogynistic characters, the rhythmic nature of his dialogue (rumor has it that he actually rehearses his actors with a metronome) and an uncanny ability to create highly emotional scenes in which nobody actually yells or seems uptight.
Mamet has written for both stage and screen. His more famous works include “Sexual Perversity in Chicago,” “The Verdict” and the Pulitzer Prize-winning “Glengarry Glen Ross.” That “Edmond” is one of his least-known works didn’t faze director Bill Patton or the Firehouse Theater Project in the slightest.
“[Edmond] is an actor’s piece,” says Patton. “It depends on the actors, not on the lights or sets or costumes. … I love that. I think there’s a real need for that kind of theater. … Also, I love the way Mamet writes. It’s always a challenge to do justice to him and not mess around with him.”
Why isn’t “Edmond” produced more often? “I think it’s a pretty powerful play,” answers Patton. “You’re either going to love it or you’re going to hate it. … It’s not one of those ones that’s popular, where there’s a little something for everybody. It packs a hell of a wallop and some people don’t like to experience
