Alliance Theatre Reviewers Blog

Review of "A Life in the Theater" - Leslie McNair

I love to get to the theater early so that I can soak in the details of the set before the performance and imagine where the play is going to take me. As I waited for David Mamet’s “A Life in the Theatre” to begin, I noticed the obscure image of a stage—a perfect introduction.

    This play is the story of two stage actors: a relative newcomer who is coming into his own and a veteran whose prime is behind him. Over the play’s span of time, these two work on a number of productions together.  The story gets to be about both what happens between them on stage, as well as off.  But like the initial set image, neither storyline is really clear.

Andre de Shields’ portrayal of the elder thespian, Robert, is magnificent. This production marks the first time in its 32 years that the part has been played by an African-American actor, and Mr. de Shields makes the most of the moment. In the role of the younger actor, John, Ariel Shafir does a very nice job as well. Together the characters create an allegorical depiction of the life cycle of theatrical actors.

Lacking a true problem/solution-type plot, the dark play is further muddied with weird sound bytes and film clips that don’t do anything to enhance the production. So I didn’t leave the theater having ridden the plot line train over the tangles and twists of a superb storyline.  I actually left thinking about Samuel Beckett’s “Waiting for Godot”—another two-actor play that leaves a lot to the viewer’s interpretation.  I imagine that over the years, this play (like “Godot”) has been the vehicle for many actors to play up the high drama of the figurative roles while trading true character depth.

I say go see “Life” for the acting and the rare chance to observe a stage legend grace Peachtree Street.  As for the play itself, maybe you’ll get it. That will be a bonus.

A Life in the Theatre -- Caitlin Way

A Life in the Theatre

 

This production, for me, was the embodiment of what really great theatre is all about: the story was edgy and challenging, as was the casting and the direction; the actors themselves were superb; the production was well-designed, the set was simple and real; the experience was engaging and surprising. 

 

There are many details in this play that paint a mostly accurate – albeit at times exaggerated – picture of a life in the theatre.  There is also, as you would expect, a strong undercurrent of “between the lines” dialogue as we watch an older actor and a younger actor in complex interactions, both onstage and backstage.  

 

Ironically the biggest drawback in this play was the dialogue itself.  Certainly David Mamet is widely regarded as a prolific author, playwright, and director -- and in so many ways this script seems brilliant, even to an ordinary audience member like me.  At times the discourse is poignant and believable.  More often than not, however, it felt like an exploration of how many different ways the actors could deliver the word “Yes.”  The excess of one-word sentences was, at times, affecting in its own way.  But eventually this became boring, even mildly off-putting. 

 

Awkward exchanges aside, Andre De Shields and Ariel Shafir are superb.  Who knew you could act the hell out of so many one-word sentences? In De Shields, the audience is fortunate enough to witness a brilliant artist deliver his craft with vast amounts of talent.  Shafir is strong as well, and the chemistry between the two is at times palpable.  I watched in fascination as these two men played off each other.  They were funny and real, complex and absurd.  And human.

 

For me, the Alliance Theatre scored another home run, not only with the excellence of the production itself, but also with the selection of this piece for the 2009-2010 season.  I loved it.   

A Life in the Theatre Review

I wanted it to end.

No review of mine for this production would be completely honest if I did not admit that; after about sixty minutes, I was fidgeting in my seat, and with ten minutes to go I even muttered under my breath.

To be sure, had the play been longer than it was I would likely have had a few more chuckles coerced out of me by the impeccable technique of Mr. De Shields, or I would have been impressed again by some of the fine production design elements, or I might even have found a line or two of Mr. Mamet’s to pique a kind of interest (“Not hungry,” was one of the last lines to actually make me think), but ultimately I could not find these small triumphs to be worth it.

Last night was my first encounter with this play, so I am unsure how much of the faulty rhythm and incoherence can be attributed to the actors, and how much is the more permanent error of the author. It seemed little more than a string of self-indulgent semi-poetic All About Eve scenes mixed with some bizarre spoofs. While some of the “onstage” interludes were inspired in their wackiness, what’s the point? To show that a life in the theater invariably involves a lot of bad productions?

Similarly, I couldn’t invest in either of the characters – stock types, although Mr. De Shields fares much better than his Keanu Reeves-y counterpart – and so couldn’t care much about their anxieties and aspirations.

Early in the show, Mr. De Shields utters a foul word about one of his costars. It gets a laugh: mostly, I think, from shock value. In other words, it’s a cheap trick. Unfortunately, with no real emotional center, the play never gets any classier.

A Life in the Theatre review -- Amy Ard

When I was in high school I joined the drama club because I loved acting and plays and relished the opportunity to spend time outside of school in “rehearsals” with my best friends.  Those of us in the drama club shared a culture that set us apart from, say, the school chorus.

There's something powerful about feeling part of "the club" and I guess that at least half of the audience members at last night's performance consider themselves theatre insiders, card-carrying members of the drama-club-for-grownups.  Mamet's play seems to be written for, and best enjoyed by, folks who have experience with one, or both, of the characters and follies they represent.  I'd place a bet that those who laughed loudest felt the slightest twinge of self-satisfaction for getting the jokes.  I did.

But a play performed for the drama club doesn't necessarily have wide appeal.  The more subtle story line--the evolution of the relationship between a giant at the end of his career and an aspiring talent at the beginning of his--was a little muddied by the theatrics and the jokes for those "in the know."

The script won’t disappoint fans of Mamet, unless you are expecting the usual torrent of profanity.  The dialogue is crisp, smart and beautifully wielded by the talented actors.  And acting is really where this performances shines.  Whether you've spent a life in the theatre, 10 minutes backstage, or even seen a few good plays, it's easy to recognize André De Shields is truly a phenomenal actor.  In fact, his performance redeems this play for those who may not be “in the club.” De Shields and his co-star, Ariel Shafir, are fun to watch and a real delight to hear as they expertly wrestle Mamet’s script.

A Life in the Theatre tells a powerful tale about those who give their lives, sometimes to their detriment, to the craft of acting.  And with a little imagination it can speak to those of us who live life outside the theatre.

A Life in the Theatre review - Mizzo

Two actors share theater life together: John (the younger) compliments Robert (the older) in order to begin a mentor relationship. Starving for real connection, Robert pours his experience, talent, and eventually his life into John. As the relationship evolves romantically, we see theater life on stage and off: their struggles, revelations, shared victories. Robert teaches John who eagerly learns. But as Robert puts it: everything is ephemeral. The relationship slowly dies as John begins to outgrow his fading teacher. By the end Robert is an old actor who has lost everything he values most: job competency, aspirations to make a difference, real connection. John is on that same actors’ tread mill completely unaware that he could end up exactly the same and not at all sympathetic to his now “just a friend.”

A sad drama with funny moments: the alien scene was hilarious, especially when Robert threw his salad tongs like a 3 year old having a tantrum. Or when Robert wouldn’t leave the theater when John was practicing, or the many times Robert over acted when “on stage.”

Theater, like any other profession, has its ups and downs. Being an actor/director myself, I could identify with wanting: real lasting connections, acting proficiency and satisfaction, mentoring younger actors, etc. But I felt blue afterwards because the playwright showed what I know all too well about theater: lasting relationships with fellow actors are rare, eventually most actors slow down to the point of incompetency, there is virtually no dignity in growing old as an actor since the younger actors don’t understand you, and really wish you’d just move out of the way...sounds like corporate America...or just America.

1-10 Scale: 11-fantastic acting, scenery, stagehands, 7-script and statement, 3-feeling happy afterwards. PG13+ for adult themes, much profanity, smoking and homosexual actions.