After ten years, friends still ask me if I miss living in New York City.

I miss my family, my friends, fantastic food (inexpensive or pricey), the range of art museums and music, and especially, live theater.

I lived in New York for thirty years. And for fifteen of those years, my husband and I had a subscription to The Atlantic Theater Company.

The Atlantic has to be one of the teeniest theaters in the city. Located in Chelsea on West 20th Street, the theater is so small that should you need to use the bathroom, you’ll first have to walk behind the stage just before the play starts – or very quickly during intermission. That’s it.

Have I mentioned how tight the rows are spaced? I’m tall, so I was forever bumping my knees into the unlucky soul sitting directly in front of me.

Sure, there might’ve been a few unremarkable productions, total head-scratchers, or real clunkers. Only once in my fifteen years as a subscriber did I ever leave during intermission.

I saw the original version of “Spring Awakening” with a very young Lea Michelle and Jonathan Groff. Before moving onto Broadway, John Leguizamo premiered his show “Freak” to a very enthusiastic audience at The Atlantic. “The Beauty Queen of Leenane” and “Hobson’s Choice” were staged at The Atlantic.

I consider myself blessed to have seen so many of David Mamet’s plays performed at The Atlantic, like “Speed-the-Plough,” “American Buffalo,” “Oleanna,” “The Water Engine,” and the incomparable “Glengarry Glen Ross.”

“I want the good leads. The Glengarry leads!”

Understanding Mamet is akin to learning how to hear Shakespeare. Like Shakespeare, there’s a rhythm to Mamet. His cadence works well in a play yet does not reflect how real people talk. If you’re seen the film version of Mamet’s “House of Games,” with Joe Mantegna, Lindsay Crouse, and William H. Macy, you’ll have heard how the actors deliver their lines in Mamet’s short, clipped style.

There’s no middle ground in a Mamet performance. He’s a playwright that you find his characters and tone of voice super annoying or engrossing.

What about you? Does the tone of voice come through in your bio or your LinkedIn profile? Does your bio demonstrate that you’re accessible and responsive – or do you sound aloof and hard to reach? What about your practice area pages?  If not, reach out to me!


Creative Commons – “Atlantic Theater Company” by edenpictures is marked with CC BY 2.0.

Written by : Nancy Slome

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