MAMET-LITE

David Mamet's "A Life in the Theater" is one of his lesser works. It's a slight, delicate piece that really doesn't cover anything we haven't seen before. The story about an older and younger actor has been seen in various interpretations. You've seen this kind of story before whereby an older person/actor is eclipsed by a younger performer. The only thing that really differentiates it from other rites-of-passage plays is Mamet's language.

Although not nearly as profane as some of his other work, the Mamet language does sneak through here and there. This is particularly true in the very first scene. The monosyllabic language and quick repartee move like a tennis ball. But as the play progresses, it seems as if the dialogue's movement slows down with the pace of the play.

"Life" is the centerpiece of the Goodman Theater's David Mamet Festival. It's a curious show to have been presented on the mainstage. "Life" is a small, two-character play; a "safe" choice for the Goodman. However, the production is so overblown and overproduced that you may think you're watching a Broadway Musical. The play is lost in the overwhelming scenery. Yes, it's neat to see the cleverness of presenting the story as if we ourselves are watching from backstage; but the moving curtains, two-story spiral-staircase, and shifting points of view are just too much. It feels as if the pregnant scene transitions/black-outs take such a long time so that the two actors can hit their cue for the next scene. They have a lot of stage space and scenery to run around in the dark for. Considering the many short scenes in the play, the scene changes take up a major part of the play's very short (1.5 hours) running time.

Both actors, David Darlow as the older actor and Matt Schwader as the younger, are good. They get that Mamet rhythm just right and seem to have fun with it. On the other hand, I think that they become sitcommish as the play progresses. This may be the fault of Director/> Robert/> Falls/>/>, but I kept thinking I was watching Tim Conway and Harvey Korman in the later scenes. I was waiting for Carol Burnett to make an appearance during the play's doctor scene. The low comedy is incongruous with the play's serious theme.

I don't think the audience will come out of the show discussing it with others. It's a pleasant entertainment and nothing much more. There is an old saying for overproduced, mediocre musicals, "Well at least I came out whistling the scenery." Same thing here, without the music.

Chicago Awards - Live Stats

Best Musical - Top 3

1. RENT (Highland Park Players)

7.3% of votes

2. HAIRSPRAY (Uptown Music Theater of Highland Park)

7.2% of votes

3. THE WIZARD OF OZ (Up and Coming Theatre/Elgin Summer Theater)

6.5% of votes

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