One of the most beloved stage plays of all time has returned to New York City with an exciting cast of prestigious talent hailing from some of this decade’s biggest television series. Debuting over forty years ago, the two-act chamber piece has remained relevant with consistent revivals, a famous film, and themes that hit as hard today as they did when they were initially put to the page. Glengarry Glen Ross follows two days in the lives of a group of real estate agents, whose egos and morality (or lack thereof) lead to misfortunes in landing their sales. While the original play needs little introduction as an acclaimed Pulitzer Prize winner, Patrick Marber’s 2025 revival has been viewed less favorably. 

Perhaps the tepid responses come from those who’ve seen many iterations of the show or have a strong connection to the material and film. However, as a casual enjoyer of the film who has never before seen this story depicted, I found this show quite exhilarating. The play exists only in two sets: the first, a diner fading in and out to show three separate scenes in the first act. The second act takes place in the office, after a robbery that may or may not have been planned by some of the employees. It can be a tricky balancing act working within so few sets. While you have the cushion of the snappy and delicious original dialogue, a lot more pressure goes onto the performances and the pace at which they are directed. This is where a lot of the criticism comes into this current version, but I personally found the pacing quite thrilling and rewarding. Moments linger more than I was expecting from a Glengarry adaptation. Yes, the constant interruptions and fast arguments are still present, but there are just as many moments where characters breathe and reflect, giving room for the words the characters wield against one another to sink in. This intentional change sets this rendition apart, though your mileage may vary regarding its effectiveness. For what it’s worth, I found the slow build up and meandering dialogue in the first act all the more engrossing, making the chaos of act two even more of a treat to watch unfold. 

However, the main reason most people are watching Glengarry Glen Ross is for its star power. Because the first act introduces us to the show’s six characters in conversations between pairs, and because a core quality of these performances is how well they bounce off one another, the best way to evaluate them is as duos.

Our first pair consists of Bob Odenkirk and Donald Webber Jr. Odenkirk brings the scummy yet naive slime ball that was so fascinating to watch in Better Call Saul to this character, playing a salesman not only occupationally but thematically, as he deceives even the audience. But even when we can see through his toothy smiles and flowery language to cover up his more despicable actions, there’s something lovable about him nonetheless. Webber as the office manager holds down the antics of his staff with a professionalism and strictness that makes his admirability believable but also understandably despised by his crooked staff. 

The next duo, Bill Burr and Michael McKean, bring the most life to the play's first act. The two discuss a scheme Burr has to rob the office and sell the best leads their real estate firm has, suggesting that McKean would do the robbery and they’d split the cash. Burr's trademark abrasiveness makes for a delightful character, proving himself as a talented actor who deserves to be in more films and series. McKean’s character, a timid coworker who is unsure of Burr’s plan, is played delightfully by McKean across both acts, bringing lightness to the show with his warm demeanor and humor with his visible anxiety. 

The final pair we see are John Pirruccello as James Lingk, who plays a delightful bit role as the newest client of Richard Roma, played by recent awards darling Kieran Culkin. The latter has garnered the most criticism from the show’s cast, with many finding him unfit for the role. But while I understand the sentiment, I cannot bring myself to agree. In the first act, I could see him slipping into Pacino-isms, but as the show went on Culkin really came into his own. He managed to stay true to the character while also bringing in the usual Culkin charm and snark that makes him such a delightful performer. 

In fact, I think that is the best way to describe the show; it stays true to the original material while bringing small modern flourishes to the table. If you have never seen a previous Glengarry production, I doubt that the criticisms floating around for the show would affect you. However, if you have seen it before, it may be beneficial to research how it compares to other productions. The direction is rather unmemorable and the revival does not bring that much new to the table, but there is so much life in the text and the current cast that I would highly recommend it to anyone unfamiliar with the stage production! Fortunate is the person who is able to see this star-studded spectacle before its run ends next month.

8/10