Director Carlos Pimenta shared his decision to return to the play at S. Luiz theatre, driven by his fondness for David Mamet’s writing. Having first directed Mamet’s work in 2008 with “Variações à beira de um lago” for the Companhia de Teatro de Almada, Pimenta delved into “Oleanna” the following year. This two-character play, focused on the theme of harassment, debuted in May at the Passos Manuel cinema in Porto, with the Ensemble de Atores company.
Mamet’s “somewhat strange” writing, which Pimenta appreciates for its unresolved elements allowing audience interpretation, further challenged the director and scenographer to work for the first time with acclaimed actors João Pedro Vaz and Bárbara Branco.
Pimenta had previously acted alongside João Pedro Vaz and expressed a strong desire to work with Bárbara Branco, citing her incredible talent despite her youth.
With the text progressing both socially and politically over 16 years, Pimenta noted its continued relevance.
Written in 1992, “Oleanna” explores the conflict between university professor John and his student Carol, who accuses him of sexual harassment.
Set in John’s office, characterized by gray tones, the play exposes gender and communication tensions through characters’ verbal and power struggles.
During its initial writing, movements like #MeToo and “cancel culture” were emerging in the United States. Today, the text resonates differently, maintaining strong relevance given recent harassment cases at universities.
“Oleanna” underscores communication challenges, a theme echoed by German sociologist Niklas Luhmann’s theory on communication improbability. The play illustrates how unresolved issues persist between professor and student as each maintains their narrative, highlighting that those who control discourse wield power.
In today’s era of “post-truth” and “alternative facts,” the play’s relevance is accentuated, observed Pimenta.
The director avoids steering audiences toward either character, allowing viewers to create their interpretations, even if the text might seem partisan.
Pimenta emphasizes that the thematic elements should not overshadow the text itself, preserving the integrity of theatre and performance.
Though it could be titled “a play for two actors” had Tennessee Williams not claimed that name, “Oleanna” is an incredible actor’s exercise, highlighted Pimenta.
Mamet’s dialogue is challenging, filled with overlapping and circling exchanges that appear improvised but are meticulously crafted.
The dynamic between actors reflects Mamet’s concept of theatre not as a life presentation but a life unfolding on stage.
Pimenta appreciates how Mamet’s writing accommodates daily fluctuations in human emotion.
Described as a “play for two actors,” it centers solely on actors’ performances without guiding spectators towards either the professor or the student. Instead, it leaves room for audiences to fill Mamet’s deliberate gaps within the play’s grey areas of life.
The production runs until December 21 in the Mário Viegas room, with shows from Wednesday to Saturday at 7:30 PM and on Sunday at 4:00 PM.
Translated by Vera San Payo de Lemos and João Lourenço, “Oleanna” features costumes by José António Tenente, lighting by Rui Monteiro, and fight choreography by Miguel Frazão.
