Behind the Incendiary New Play Confronting David Mamet

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In the fictitious piece titled “A Drama Concerning David Mamet Portraying Harvey Weinstein,” a fictional representation of David Mamet experiences a horrific fate: he is poisoned, deprived of manhood, and brutally killed using his very own playwriting accolade.

Mathilde Dratwa’s composition critiques playwright David Mamet and his plays such as “American Buffalo,” “Glengarry Glen Ross,” and “Oleanna.” These works have endured in the theater world, despite Dratwa’s observation of their overconfident male characters, offensive language, disrespectful portrayal of women, and more. In 2019, Mamet introduced “Bitter Wheat,” a play influenced by Weinstein, that follows a movie magnate who faces consequences for his sexual misconduct. This sparked the idea for Dratwa’s own work.

The performance she delivers additionally highlights the establishments that have supported Mamet, broadens its critique to encompass a melodic enumeration of renowned sexual abusers, and then takes a moment to scrutinize the aftermath.

The characters feature a passionate playwright, her assertive alternate persona, a young actress vying for a part, and three older gentlemen named David. On July 21st, Abbi Jacobson, Heléne Yorke, Kara Young (a Tony Award winner), and Billy Eichner will perform these roles in a single reading of the play, directed by Leslye Headland, who is known for “The Acolyte.” George Strus and Rachel Sussman are overseeing production.

The upcoming staged reading of the play at Playwrights Horizons Off-Broadway theater serves as a significant production for the piece, benefiting the New York Civil Liberties Union. Ticket sales for this event have been swift, with Dratwa, whose previous works have been showcased Off-Broadway and beyond, viewing this as a hopeful indicator, despite her uncertainty about industry response.

Before the upcoming performance, Dratwa chatted with The Hollywood Reporter about her apprehensions regarding presenting her concepts, the political landscape within the theater world, and the intricate elements she discovered in the material.

Why do you want to write this play? 

The inspiration for the play came when I stumbled upon a brief article that David Mamet was penning about Harvey Weinstein, mentioning it would be staged in London. This news infuriated me immensely, and I couldn’t quite understand why. Upon reflection, I realized that the play was being produced without even a script, as Mamet had yet to start writing it. His Broadway producer suggested he write about this topic, which he did. Now, he has a theater booked in London, composing the play about Weinstein. I found this situation so preposterous. And if Mamet can write about Weinstein, then I can write about Mamet.

Was “Bitter Wheat” the play he wrote that premiered in London in 2019? If so, had you finished working on your own play around that time?

Indeed, the production underwent changes. When I initially learned about it, the #MeToo movement was at its peak, and numerous events were unfolding. By the time Bitter Wheat took place, however, the world had subtly shifted. As the initial wave of anger subsided, I found myself more intrigued by exploring the play’s intricacies rather than criticizing it. The focus shifted from questioning David Mamet’s actions and his right to write such a play, to examining who has the authority to create art and what role do I play in this process.

The story evolved from amusing anecdotes I shared with friends into a full-fledged play. Initially, I penned it down as material for monologue nights among friends. Surprisingly, the play began circulating independently, even during the pandemic. Friends would tell me they’d read it aloud in living rooms, or passed it around in dressing rooms. However, nobody seems keen on producing it, given the obvious challenges.

No one has wanted to produce it? 

To date, among the four plays I’ve penned, two have already had productions, a third is currently undergoing a workshop production, leaving this last one as the only one yet to receive such attention, which finds me intrigued.

How are you feeling about doing this high-profile reading of it now? 

I’m absolutely thrilled, yet there’s a hint of nervousness as well. After all, David Mamet is known for being quite litigious, and within the theater community, there are devoted Mamet fans. I can’t help but wonder who will attend and how it will be received. What excites me most is the exceptional talent we’ve managed to secure, which speaks volumes about our producers and Leslye. However, I remain curious to see if it will resonate positively.

Beyond Mamet’s ideas, you present several remarks concerning the theater world that aren’t often discussed in such a public manner. For instance, one of your characters discusses the speculated all-female Glengarry production, stating, “In 2025, that’s what they call feminism: an almost-all-female version of Glengarry Glen Ross. Having a woman utter, ‘you sleep with little girls, so be it.’ That’s about as progressive as Broadway gets.” Do you have concerns about the reception of these statements within the industry?

As a passionate advocate for equal representation on stage, I can’t help but reflect on the significant milestone achieved a few years ago when the Lillys reported parity in gender representation for the first time ever. However, it seems that this year has taken a disappointing turn, with many theaters announcing seasons that are predominantly male-led or feature only one woman in a co-creator role. This underscores the importance of maintaining constant vigilance and pushing for change, as without it, progress can stagnate.

The situation feels riskier now compared to before the election. Actions that might not have raised eyebrows a few years ago could be perceived as provocative or singling people out, especially in the art world where some directors may have overlooked women’s issues this year. Politically, having someone in power who has made disrespectful comments doesn’t help either.

Why might people from the theater community be reluctant to express thoughts similar to these openly?

In my opinion, the theater environment can be quite complex due to the high number of individuals passionate about their work. The power dynamics within this setting are intricate and reminiscent of situations like the Weinstein scandal. When someone holds significant influence over another who is eager and desperate for success in a profession they deeply care about, it creates a challenging situation. There’s often an underlying vulnerability that makes people tread carefully due to the fear of losing opportunities.

What’s your relationship with David Mamet plays? 

During my acting studies and time at drama school, the plays we studied were often the go-to resources for teachers. Consequently, I was introduced to them at a formative age, and I developed a deep affection for them. The man I was dating then happened to be a huge fan of this playwright, which further fueled my interest. Many people believe that he added a unique style to the stage, and his irreverent approach captivated me. However, it took some time before I started questioning the content of these plays that we were required to use for scene study classes and monologues.

What’s your opinion on the continued production of his plays on Broadway? For instance, the recent revival of Glengarry Glen Ross, starring Kieran Culkin, Bob Odenkirk, and Bill Burr, has just wrapped up, while American Buffalo was previously revived a few years ago.

Isn’t it intriguing? The play Bitter Wheat, despite receiving negative reviews, was still produced and even secured a spot before the script was finalized. He has other works that didn’t fare well on Broadway, but once you’ve achieved a certain level of success, you can experience multiple failures and still maintain relevance – something I’m not sure is possible for emerging female playwrights in the same way.

Could you discuss how your creative choice evolved from portraying raw violence to a subtler interpretation of Mamet’s work in the play? By allowing his characters to justify themselves and simultaneously scrutinizing yourself as a playwright, you’ve given the audience a more introspective experience.

To begin with, I’m not an advocate for violence as a solution. Furthermore, it seems we might be crossing a line by attempting to silence everyone. I don’t think that’s the correct approach either. Instead, I believe the answer lies in being more open-minded and compassionate. It’s not about giving in, but finding a balance where we stand firm without becoming passive. We won’t back down, yet we also don’t support violence, and we aim to ensure that such incidents as these never happen again without necessarily excluding the individuals involved. I’m not sure that’s our ultimate goal. So, what exactly are we striving for?

As it turned out, some of the script’s content related to race and similar issues stemmed from my own past mistakes and discussions with actresses of color who were deeply invested in their role for Zoe [the millennial actress].

In the play, it appears as though you’re hinting at the proposed resolution being an increase in both female characters and emerging playwrights. Could this be correct?

Absolutely, I believe in the diversity of playwrights, including those who identify as female, non-binary, or have disabilities. The theater has a vast potential to showcase unique stories, and it often attracts individuals who may have felt excluded or marginalized in other areas of life, providing them with a platform for self-expression and growth. I aspire to view the theater as an inclusive space where everyone feels a sense of belonging. Rather than excluding certain playwrights, my aim is to discover and showcase a multitude of voices, like those represented by these names we’re yet to learn about, and many more.

Is your hope to get a more full-scale production of this play? 

I’m really enthusiastic about the concept of a low-budget pop-up production on another stage. You can utilize the existing lighting setup for this. It could potentially travel to different venues, similar to a Playwrights or Roundabout night performance.

I believe that theater has the potential to encompass a variety of themes and styles, and should be more responsive to current events. I wish this production had incorporated such contemporary elements four years ago. The performances on stage seem somewhat outdated. Typically, you can’t secure a West End theater for your play until it’s already written, unless you’re a well-established playwright like David Mamet. If you’re not, you have to wait an incredibly long time for the opportunity to materialize, by which point… So we are taught to write plays that remain relevant over time, without expiration dates. I wonder why theater isn’t more active in reflecting society? And wouldn’t it be exciting if we could pen plays with expiration dates, and see them appear swiftly?

This interview has been edited for length and clarity.

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2025-07-18 15:55