1987: A Year of Deception

In 1987, the spotlight was on the world of con artists. Donald Trump’s book, *The Art of the Deal*, hit shelves, and playwright David Mamet made his directing debut with *House of Games*. This thriller showcases Mike, who lures psychotherapist Margaret into his intricate world.

For the stage adaptation, Richard Bean infused the content with humor, broadening the narrative. The setting is simplified to just two locations. The upper area, which serves as Margaret’s office, is bright and stylish, while the lower section transforms into a dimly lit bar where Mike and his crew display tricks reminiscent of fringe theater, making the transition from screen to stage feel natural from the start. Director Jonathan Kent and lighting designer Peter Manford introduce their subtle techniques right from the opening moments.

Bean reshapes the original material, echoing themes found in Mamet’s previous works. The familial dynamics presented mirror those in *American Buffalo* and *Oleanna*. Billy, the anxious gambler, ties Margaret to Mike, leading to a complex relationship. The conman connection with his surrogate parents unfolds dramatically, contributing to the play’s heightening tension.

However, *House of Games* doesn’t solely cater to popular audience expectations. Its themes resonate with Mamet’s signature sparseness, personified by a character in an ill-fitting suit. Kent’s direction in the ensemble scenes occasionally feels chaotic. At crucial moments, the focus blurs, causing anticipation to wane by the time the major plot twist arrives.

Despite the challenges, the cast, including Lisa Dillon as Margaret and Richard Harrington as Mike, put forth strong performances, notably Oscar Lloyd as Billy, who stands out. Yet, perhaps the most compelling twist are the real-life complexities surrounding the story.