The blasphemous poetry of David Mamet’s discourse is in one piece, but the fact that it has grown to be ordinary eliminates the charm and makes the profanity inside the dialogues stand out in an irrelevant manner. And this is not the only rambling thing about the Broadway revival of the playwright’s “American Buffalo,” in which everything seems to go wrong.

The play’s original lack of complexity is highlighted even more in the production that opened on Monday at the Belasco Theatre, since the low key personality analysis of three losers organizing a robbery aiming at rare coins is more than conspicuous. Moreover, its straightforwardness and minimalism does not offer a sole broad content, as one may think, but emphasizes that “American Buffalo” is deficient in any appealing kind of intricacy.

In spite of the fact that director Robert Falls has added big names on the cast list, John Leguizamo, Cedric The Entertainer and Haley Joel Osment, the actors fail to work as an homogeneous ensemble, while each of them operates on his own and from his personal perspective.

As John Leguizamo has the night’s most ostentatious part, by impersonating the hot-blooded, loudmouthed brain (if I may use this disputable term) of the burglary, suitably dubbed Teach, audiences may feel unpleasant when it comes to this particular character.

Although Teach (who was once played by Robert Duvall, Al Pacino, Dustin Hoffman and William H. Macy) should represent the play’s pressure engineer, John Leguizamo fills his shoes with amusement and wit. Therefore, a natural sort of entertainment comes to light, leaving behind some of the original ideas. But this is not automatically a minus, since a funny side is always a desirable state.

Cedric The Entertainer plays Donny, the possessor of the junk store where all the incidents occur, is an unassuming, terse and insipid guy who finds a match in Joel Osment’s Bobby, a foolish, shabbily clothed lad whom the actor offers a drop of charm, notwithstanding the case-hardened plot of “American Buffalo.”

The writing’s hyper sharpness can still be exhilarating and the flare-up of aggression that stands at the production’s pinnacle nevertheless crams a spiteful thump. But the play loses touch with some of the multi-layered denotations on which the messed up heist schemes are built. It forgets about the powerlessness of blind alley lives, the boundaries of respect amid human beings, the bloodthirsty nature of comradeship and the inept battle for self-worth. And this little fact right here leaves us wondering about the true target of “American Buffalo.”