The Cryptogram

This is a strange, elliptical play. I did not enjoy it as much as some of the other Mamet maniacs here, but I will admit that, in the months since I've read it, I just can't get it out of my head.A lot of this play exists in the subtext of the language and in Mamet's clever "uses of the knife." Since it is very hard to imagine it off the page, much of the time it seems like nothing is happening. I would like to see the play performed, but I think it is unlikely. Finding a ten-year-old who can pull off such a complicated role is probably too much of a headache for most theater producers.This play is, yes, different than a Glen Garry or American Buffalo. But it is still full of Mamet. If the maestro floats your boat, go for it.

A fan of Mamet, I've read all but two of his plays. I've enjoyed every single one and this ranks among my favorite. I recommend it to all play-readers and theater lovers around the globe! Especially Mamet fans! Read it and I promise you won't be able to put it down!

It's too bad this doesn't get the same recognition that Mamet's other works, esp. Glengarry Glen Ross, Speed-the-Plow, and American Buffalo get. I can only agree with the critic cited on the back who believes that "in time it will take its place among Mamet's major works."Whereas so many of Mamet's other plays seem to be about the same thing but just given different titles (again, StP, GGR, AB) -- and don't get me wrong, I'm not knocking the "F***ing Master," as David Ives refers to him, but think about it, I'm right! -- The Crypotogram is completely uncharacteristic Mamet. It isn't necessarily doing what Mamet does best i.e. capitalism, but nonetheless, I think it's breathtaking.The construction of the Cryptogram seems so fragile. As only Mamet can do with language, such a compelling spell is created, and it's undeniably intriguing -- the different worlds of adult language vs. children's language. Who has even given such thought to the idea? The idea that "grownups are speaking in code, and that that code may never be breakable" is established so subtly that at first I thought I missed it, I kept waiting for some more concrete dividing line -- but therein is Mamet's gift. To actually hear the language that Del and Donny speak as an adult, while simultaneously imagining hearing it as John might reveals this "code," and it is somewhat unsettling -- just the idea that such a difference exists. Certainly a clever illustration not only of how language can be interpreted differently, but of language's power in general -- to empower, persuade, dissuade, enlighten, shield, to keep in the dark, to be used as a weapon, or as defense, to conceal, and to reveal.Perhaps one of Mamet's darkest plays, but well-written (so often a rarity) and full of ideas.Incidentally, I'm a college student and would love to direct this play for my senior project, except it requires a 9 yr old of extraordinary talent, which seem to be in short supply on college campuses.

Amazing! I've read it through 8 or 9 times and keep rediscovering more of the mysteries imbedded in this complex work. Mamet peruses the rhythmic dialogue he explored in Oleanna, with a complementary view on the intellect of a 10 year old child. Act 1 involves the child's insomnia as he prepares for a camping trip with his father, whom is very late in coming home from the office. As the story progresses the boys restlessness becomes frenzied, while the mother discusses old times with a friend of the family. Past reflections turn to indictments and evidence, as the fathers absence becomes menacing. And old friend may not be what they seem. A MUST READ!