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Hollywood Reporter, October 30, 1992
TV
Review: "Mastergate"
by Miles Beller
Nattering
nabobs of know-nothingness, Slick Willies and Read-My-Lips lackeys
of insta-poll results.
They're
all present and stingingly accounted for in Larry Gelbart's
masterful send-up of a political cover-up, Mastergate,
airing on Showtime.
Now,
political intrigue is tricky business even when handled by the most
accomplished artist. For every Shakespeare who makes timeless theater
out of the machinations and double-dealings of Caesar and company,
there swarms a multitude of lesser lights turning such dealings
into regrettable farce, the stuff bad off-off Broadway is made of.
Consequently,
Gelbart's "Mastergate" is all the more impressive, operating
as incisive, sardonic examination of government as dysfunctional
"trust," bumbling and stumbling forward as mis-representative
of the people.
Showtimes
TV treatment of this piece by Gelbart (who has authored such diverse
entertainments as "Oh, God" and "City of Angels")
is deftly conveyed as if carried by CNN, complete with super pumped-up
logos, computer-generated graphics, flashing ID's, nanosecond analyses
and cutaways for breaking news. Moreover, this production
featuring a sharp, smart cast including Ed Begley Jr., James
Coburn, Robert Guillaume, Buck Henry, Richard Kiley, Burgess Meredith,
Jerry Orbach, Marcia Strassman and Dennis Weaverer, liberally
borrows from such real-life political fiascoes as Iraqgate and the
Iran-Contra scandal for its slap-dash ironic bite.
As
contemporary comedic exploration of bureaucratic malfeasance, Gelbart's
"Gate" assuredly "says something," as the cliché
goes, about modern Machiavellianism and egos out of balance, his
play perfectly pitched to catch the TV-i-zation of private morality
into public carny act, where the press hisses white noise accompaniment
to the bellicose braying of congressional speechifiers.
This
cable rendition of Gelbart's work stands as Saturday Night Massacre
by way of "Saturday Night Live," an acidly funny show
of the military-government-media follies that invariably eclipses
the new and enfeebled "real" situation comedies beamed
home by networks this time each year.
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