A Life in the Theatre Reviews Highlights New Jersey Star-Ledger Asbury Park Press NEW YORK TIMES “. . .a rather touching character study, and a wonderfully nuanced performance by Patrick Husted.” - Neil Genzlinger, The NY Times STAR LEDGER “There are two riveting performances at Two River Theatre Company in Manasquan. . .Patrick Husted and Erik Singer are doing playwright David Mamet proud in a revival of his 1977 comedy-drama, "A Life in the Theatre." Husted and Singer deliver them (Mamet’s words) splendidly.” “Husted marvelously captures the stentorian bearing of an old pro who believes he's a great man of the theater…. there is a charming moment when Robert is alone on stage. With no one there to watch him, he shows what a thrill he experiences just by being in a theater. This is all done wordlessly, but Husted's smile tells plenty and takes away years from his face.” “Singer gives John the self-confidence of a young handsome man. When Robert tells him late in the show, "You are becoming a very fine actor," Singer offers a priceless look that indicates he feels he became one many moons ago. His performance makes that clear.” “…audiences are fortunate that Mamet has chosen to spend much of his life in the theater, and that Patrick Husted and Erik Singer are on hand to celebrate that life with him.” - Peter Filichia, Star Ledger ASBURY PARK PRESS “Carrying physical trace elements of the delightful old character actor Hans Conried, Husted brings a formidable professional resume to his role as Robert. . .For the sake of strong performances like this one, here's hoping that Husted never loses touch with his inner Robert.” “Scenery is always a tremendous asset of the Two River productions at the mighty Algonquin, and the richly detailed (yet modular and even magically mobile) design by Neil Prince very quickly takes on a "Life" of its own. . . it's not hyperbole to suggest that Prince. . . is an artist who uses this eccentric old performance space as his canvas.” - Tom Chesek, Asbury Park Press TWO RIVER TIMES “Patrick Husted (Robert) and Erik Singer (John) are equal in performance quality and that quality is extremely high. Moreover. . . they’re both talented actors, and their give-and-take, obviously the result of hard work, comes off as smooth, effortless and eminently believable.” “Rapidly shifting scenes mesh seamlessly in Two River’s skillful production. . .you’re laughing so darn hard. . .(and yet) nothing of the characters’ serious relationship is lost.” “The co-stars at Two River are Neil Prince’s set design. . .Zeke Zaccaro’s production team, who enable the complex design to function. . .and Stage Manager, Lisa McGinn, who makes it all work.” - Phil Dorian, Two River Times THE COAST STAR “Passionate performances by Mr. Singer and Mr. Husted, who are framed by an imaginatively-designed set, propel the play to its touching, final act.” - Diane Churchman, The Coast Star back to top New Jersey Star-Ledger Mamet play comes to life at Two River Tuesday, May 11, 2004 by Peter Filichia Star-Ledger Staff There are two riveting performances at Two River Theatre Company in Manasquan. Patrick Husted and Erik Singer are doing playwright David Mamet proud in a revival of his 1977 comedy-drama, "A Life in the Theatre." By Mamet standards, it's rather tame, for three nasty words are only heard that many times. The other words Mamet has used, however, are choice. Husted and Singer deliver them splendidly, the former as Robert, an established actor, the latter as John, a fresh-out-of-school rookie who is thrilled to be performing with a man he's long admired. After a performance, John praises Robert. The star pooh-poohs the compliment, which makes John think he's been too fawning. So he decides instead to criticize his idol. The old pro doesn't bring out his terrible swift sword, and deals with the reproach diplomatically, but he makes it clear that he doesn't appreciate the criticism. Soon, John is back-pedaling quicker than Lance Armstrong. Actually, each of these characters has an ego that's bigger than the theater in which they perform. Mamet follows them play-by-play, both on stage and backstage, in a World War I drama, an arch melodrama, a pageant set in the French revolution, and many others. Robert's need to be admired by a younger man is certainly a big part of the script, as is John's inevitable compulsion to break away. The playwright certainly knows the pitfalls of live theater, and includes some classics. There's the phone that keeps ringing after the actor picks it up, and the wig that falls off at the worst possible moment. How each actor deals with these gaffes tells a great deal about him. Husted marvelously captures the stentorian bearing of an old pro who believes he's a great man of the theater. He elocutes rather than speaks, always with a bit of a British intonation. En route, he becomes a different type of "effete impudent snob" from the one envisioned by Spiro Agnew. But there is a charming moment when Robert is alone on stage. With no one there to watch him, he shows what a thrill he experiences just by being in a theater. This is all done wordlessly, but Husted's smile tells plenty and takes away years from his face. Singer gives John the self-confidence of a young handsome man. When Robert tells him late in the show, "You are becoming a very fine actor," Singer offers a priceless look that indicates he feels he became one many moons ago. His performance makes that clear. Robert Walsh has not only directed superbly, but has also added some moments that enhance the script. In between each scene where Husted and Singer make costume changes -- and they must endure quite a few -- Walsh shows the audience yet another facet of backstage life. Two stagehands, Lora Iannarelli and Matt Ballistreri, emerge and routinely and expressionlessly clean up, restore props and dispense laundered costumes, as they play painful rock music that helps pass the time. It's a nice comment on how unglamorous the theater can be. Nevertheless, audiences are fortunate that Mamet has chosen to spend much of his life in the theater, and that Patrick Husted and Erik Singer are on hand to celebrate that life with him. back to top A 'Life' worth examining in Manasquan Published in the Asbury Park Press 5/12/04 By TOM CHESEK CORRESPONDENT "A life in the theater goes so fast . . . it goes so quickly," the veteran actor muses to nobody in particular at the end of David Mamet's much-revived paean to the player's calling, not coincidentally titled "A Life in the Theatre." Move it does, in director Robert Walsh's speed-the-plow staging of the Mamet text now on display at the Algonquin Arts Theatre in Manasquan. Presented without intermission by Two River Theatre Company as the fourth and final offering of its 2003-2004 season, "Life" follows a pair of actors. One is an old hambone beholden to the bottle; the other is a young hopeful whose star is on the ascendant. They form a bond over the course of what appears to be several seasons worth of laughably self-important dramas. Constructed as a series of blackouts, Mamet's 1977 comic duet-and-then-some (filmed for TV in 1993 as a vehicle for Jack Lemmon and Matthew Broderick) is a relatively lighter effort from the Pulitzer-winning purveyor of "Glengarry Glen Ross" and "American Buffalo." The trademark sailor-talk is slightly less salty, nobody gets offed and there's even something of an upbeat note struck by the final curtain. It's a labor of love, from an energetic creator who's never been as cynical as some of his works would have us believe. TOM CHESEK/Special to the Press Patrick Husted and Erik Singer share the makeup mirror in David Mamet's "A Life in the Theatre," now at the Algonquin Theatre in Manasquan. The "hard-hitting" dramatic pastiches are easily the funniest element of the playwright's script. Ranging from trenchbound World War I tripe and Shakespearean shtick to soggy seafaring drama and powdered-wig period pap, these shows-within-the-show are earnestly performed by our two protagonists in the midst of chaos: All applicable laws of Murphy and curses of Macbeth are visited upon the set in the form of blown cues, scenery snafus; even halftime-style wardrobe malfunctions. Walsh's production hits its comic highs with a botched cigar-lighting ritual that stops a turgid tale of boardroom intrigue in its tracks -- as well as with a heavy-handed medical melodrama that flatlines just seconds into the scene. Often cast in older/wiser roles alongside young John, Patrick Husted's Robert is a competitive, controlling yet fragile and needy eggshell of an ego who's nobody's idea of a mentor. Bursting with dozens of unsolicited opinions and theories; given over to stentorian soapbox filibusters, the aging thespian latches on to the somewhat enigmatic John as a sounding board of sorts -- to the point that much of John's dialogue consists of a monotonous series of "yes" and "mmmm" responses to Robert's ravings. Carrying physical trace elements of the delightful old character actor Hans Conried, Husted brings a formidable professional resume to his role as Robert -- a man who, in fact, has no life outside the theater. It's no offense to suggest that there must be a lot of Robert in Husted, since the things that make Robert what he is -- his love for the sound of his own voice, his confidence in his ability to work off-script, his belief that he is part of some grandiose tradition that sets him apart from mere mortals -- are present to some degree in every actor. For the sake of strong performances like this one, here's hoping that Husted never loses touch with his inner Robert. Sporting an equally awesome bio and a lanky look that suggests Young Mr. Lincoln, Erik Singer is slower to connect with the audience in his role as John -- due largely to the lack of memorable words put in his mouth. Both actor and character fare better in the play-within-a-play segments; particularly a Civil War extravaganza wherein the usually reliable John (who performs stretching exercises, does well on TV auditions and actually has friends) panics and completely muffs an entrance cue. This two-character play isn't really that, as it turns out. Portraying various stagehands, crew and fellow cast members with stoic facility, Lisa Pickell and Bob Senkewicz shared the stage for a good portion of the opening night performance; they'll be platooning in these parts with the tag-team tandem of Matt Ballistreri and Lora Iannarelli for the duration of the show's run. Scenery is always a tremendous asset of the Two River productions at the mighty Algonquin, and the richly detailed (yet modular and even magically mobile) design by Neil Prince very quickly takes on a "Life" of its own. With walls and backdrops in constant flux and perspectives shifting from scene to scene, the effect is akin to one of those specials that purport to reveal the secrets behind stage illusions -- and with the action even bleeding into the aisles at one point, it's not hyperbole to suggest that Prince (who worked with director Walsh on TRTC's 'Misalliance') is an artist who uses this eccentric old performance space as his canvas. While not as dynamic or innovative as the previous Two River production "Miss Julie," Mamet's not-entirely-realistic comedy is nevertheless a heartfelt capper to the Two River company's tenth-anniversary slate of shows. "A Life in the Theatre" continues Wednesdays through Sundays until May 23 with a mix of afternoon and evening performances. Call (732) 345-1400 for show times, ticket prices and reservations. back to top