Oleanna is a short play (no interval) about power. About sex and violence too, but mostly about power. It’s set in an American University. John, a lecturer who is trying to buy a new house on the strength of being about to get tenure (job security) sets out to help student Carol. Carol appears to understand very little of the course and is frightened of failure. John bends over backwards to make things easier for her, using his power as a teacher to tell her that she will pass but somehow fails to teach her anything. And that is a mistake. Carol interprets his actions in a sexual way and complains to the tenure board. John’s career is ruined. Only in America! | "Who is entitled to be here? Who to judge? What are the rights and responsibilities of teachers and students? … What does it mean to understand?”" | | TJ Lustig, an American Literature expert from Keele University. |
Oleanna could only be an American play; while some British lecturers have been known to get into trouble over their relationships with students, it wouldn’t happen this way. The confrontation is wholly foreign. No male lecturer of my acquaintance would dream of being in a closed office with only a female student, and no-one accused of sexual assault would compound the problem by having private meetings with his accuser. Leave that aside and the play poses a series of questions, excellently summarised in a programme note by TJ Lustig, an American Literature expert from Keele University: “Who is entitled to be here? Who to judge? What are the rights and responsibilities of teachers and students? … What does it mean to understand?” Language - a bit difficult to follow David Mamet, whose most famous play (and screenplay) is probably Glengarry Glen Ross, is known for his clipped language. But the dialogue in the first scene of Oleanna was so staccato it was difficult to follow. Neither character ever seemed to finish a sentence before the other interrupted. Scenes two and three were easier – and much more dramatic. You could see the power shifting between the two and somehow the audience is outside the action. Neither character is particularly likeable, so it’s impossible to take sides, though Laura Doddington as Carol and Richard Willis as John both put in first class performances. The play raises questions, it doesn’t answer them. But you are sure to be discussing them on the way home. | 
