A LIFE IN THE THEATRE
Apollo Shaftesbury

David Mamet can irritate, even infuriate, but here he involves. This revival of his 1977 backstage dialogue between a young and an ageing actor is an exercise in acute listening and looking as well as a well-worn metaphor for life.
Set in a rundown provincial repertory theatre in the USA, Robert, a veteran actor (Patrick Stewart) shares a cramped dressing room with John (Joshua Jackson) an actor whose good looks, ambition and a life outside the stage door beckons him to a bright future. He at least has a hinterland. They rattle through the season’s programmes from Shakespeare to an hilarious hospital play set in the operating theatre, turning their hands to any situation – revolution, shipwrecks – expressing their flaws, frustrations and antagonisms. There are about 30 scenes in 80 minutes, but Robert’s maturity and failing dominance over the tyro John is skillfully teased out by Patrick Stewart.
The opening scene is nothing short of delicious. The two are leaving after the show. They feed off each other’s analysis, flattering each other but in complete agreement on the leading lady’s inadequacies. Superb conversation, and so accurate to anyone who has listened to post-performance gossip.
Bob’s loneliness and desires are sharp and powerful. Patrick Stewart has spent too much time commanding the Enterprise in Star Trek. He commands the stage in the tradition of classical actors. So where is Bob’s life going? In Stewart’s hands he earns our sympathy, not our pity. He envies John’s outdoor life and phone calls, but controls his lust, except once, when he playfully grabs John’s left breast.
Gradually John’s confidence predominates, but it’s not cruel. For as the old adage says, age must give way to youth.
Joshua Jackson is fresh, good-looking and, God forbid, charming. He too is a refugee from successful TV, in this case Pacey Witter in Dawson’s Creek. Mamet is in love with theatre and although this is not Michael Frayn’s Noises Off, it has an authority and stark realism and is very firmly focussed.
Giles Cadle has brilliantly designed the shabbiness of this backstage. One can smell penury and the penny-pinching management. Lindsay Posner is blessed with two actors who can be heard, and his production is strong and effective.
An evening of eavesdropping and voyeurism to an unconsummated love affair as actors prepare for, perform and leave their work. The stage door was mobbed the night I went.

0870 890 1101
Booking until April 23