David Mamet's Glengarry Glen Ross was first presented at the small Cottlesloe Theatre of the Royal National Theatre, in London, England, on September 21, 1983. The critics gave the play strongly positive reviews and the production played to sold-out audiences. It was later awarded the Society of West End Theatres Award (similar to the American "Tony" Award) as best new play. The American premier of Glengarry Glen Ross took place at Chicago's Goodman Theatre on February 6, 1984; with one cast change, the production then transferred to Broadway's Golden Theatre on March 25, With very few exceptions, the New York critics recognized the play as brilliant in itself and a major advance for Mamet as a playwright. Nevertheless, ticket sales were slow and the play lost money for two weeks. After it was awarded the Pulitzer Prize, sales increased significantly.
It ultimately ran for 378 performances, closing on February 17, 1985.
Many critics in both England and America pointed out that, for all its use of "four-letter words," Glengarry Glen Ross is a morality play. They noted that the work is an abrasive attack on American business and culture and a withering depiction of the men whose lives and values are twisted by a world in which they must lie, cheat, and even steal in order to survive. Virtually all of the critics commented extensively on Mamet's use of language, not only to create tension and define character, but also as a sort of musical poetry: "hot jazz and wounding blues," as Frank Rich, critic for the New York Times put it. Even those few critics who were lukewarm about the play as a whole appreciated the distinctive, powerful language. Critics also appreciated the savage, scalding comedy of the play.
The influences of playwrights Samuel Beckett and Harold Pinter on Mamet has been pointed out by numerous critics, and Mamet has said that he has also been influenced by Lanford Wilson, Eugene lonesco, Bertolt Brechl, and Anton Chekhov. He has also acknowledged the influence of Thorsiem Veblen's Theory of the Leisure Class. A strong nonliterary influence has been his study of the Stanislavsky system (named for the famed director of the Moscow Art Theatre, Konstantin Stanislavsky) of actor training as interpreted and taught by Sanford Meisner and Lee Strasberg at the Actors Studio.
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