This is a review of a new play by David Mamet…. Although any mention of David Mamet today can turn into something else entirely. For instance, how many playwrights attract protestors outside the theater where their new play previews?
Mamet’s very good play, Henry Johnson, is getting its Midwest premiere by Victory Gardens Theater, an organization that, after a three-year hiatus, might itself attract protestors. Victory Gardens is observing its 50th anniversary, but it should be called its 47th, since it has not produced a play since 2022. Its historic venue, the Biograph Theater, has been a rental space since disagreements between Victory Gardens’ board and creative ensemble ended the theater’s producing activities.
Directed by Edward Torres, Henry Johnson is a play with crackling good dialogue and excellent performances from its four actors. It’s a dramatic story (and not a political one) about a simple man (played by Daniil Krimer) who tries to be compassionate and ends up being manipulated by three men who try to talk him into their views of life and living. In four scenes, one set in a corporate office and three in a prison, three different characters debate with or simply browbeat a simple man.
The play opens with Henry meeting with his boss, Mr. Barnes, played by Al'Jaleel McGhee. Barnes tries to get Henry to admit why he’s asking him to find a job for Henry’s college buddy, who got only five years prison time for raping and murdering a woman and her unborn child. He was the father of the child, but he wanted the woman to have an abortion and she refused. You can be forgiven if you start thinking of Mr. Barnes as a prosecuting attorney because the dialogue is more like a cross-examination than a conversation as he tries to get Henry to admit why he wanted to help the guy. The suggestion is that the killer was grooming Henry to do his bidding. Henry’s mild demeanor and actions throughout the play will make you think he’s being manipulated by everyone, even by the guy who should be under his power late in the play. Krimer plays this simple man to perfection.
Next we find Henry imprisoned as accessory to that murder. TV actor Thomas Gibson (Criminal Minds) plays a fiery Gene, Henry’s cellmate. Gene knows what’s what and what’s going on everywhere and tries to get Henry to buy in to his plans.
In the final scene, veteran Chicago actor Keith Kupferer (Ghostlight, Sweat), plays Jerry, a prison guard annoyed because his title now is corrections officer. Here Henry should be in a position to be the strongest voice, but again, he’s the simple, naïve man and Jerry is the powerful voice that brings Henry Johnson to its conclusion.
"What should I do ?" Henry asks. “Do what you want,” Jerry replies. “People generally do.”
Henry Johnson had its world premiere at a small theater in Venice, California, in 2023 and is about to be released as a film featuring Shia LaBeouf as Gene. The Chicago production is a collaboration between Victory Gardens Theater and the Relentless Theatre Group, founded by Torres and Krimer.
Despite the well-deserved stones that might be thrown the playwright’s way because of his political views, we need to recognize that Mamet has an archive of excellent work. He is best known for his early great plays like Glengarry Glen Ross (now in a Broadway revival) and American Buffalo, as well as many other plays and films. He is still a fine writer but that doesn’t mean I’m going to forget his late-in-life conservative leap, which led him to endorse Donald Trump’s electoral bids—the reason behind the protests at the Biograph Theater last week. (There were none before Sunday’s official opening performance.)
The production features set design by CoDesign Studios with lighting design by Jared Gooding, costumes by Stephanie Cluggish, props by Jeff Brain and fight choreography by David Woolley. Stage manager is Tina M. Jach.
Henry Johnson continues through May 4 at Victory Gardens Theater, 2433 N. Lincoln Ave. Running time is about 100 minutes including a totally unnecessary 15-minute intermission. Not only unnecessary but mood-breaking. Tickets are $64-69 for performances Wednesday to Sunday; no performances April 18-20.
For more information on this and other productions, see theatreinchicago.com.
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