The New York Critic: Reviews

Unblinking

The Thirty-third Year - Playing Life
Theatre ASOU at Mabou Mines, PS 122


Theatre ASOU, from Graz, Austria, visited Mabou Mines recently (at PS 122, New York), with a sort of performance piece called The Thirty-third Year - Playing Life. The company uses projections, costume changes, and a disembodied, amplified voice to create a set of characters, all manifestations of the sole actor. Indeed, the script was devised from the actor's life through interviews with the author (Robert Riedl). It's a probing exposure of character, and it doesn't shrink from life's worst experiences - death and grief.

Throughout, the actor is engaged in conversation with an alter ego. "What is it that you want from me?" he asks his other self. "Just shut your mouth," comes the response. But this disembodied voice (who is the director) can be reassuring as well, "Just be you", he tells our man. There's a great deal of Pirandelloing around here. The best bit is a visual pun on the word "cast", as the actor enters with his leg in one of those plaster things - he's in the cast today.

We admire the expression of loss and guilt that Theatre ASOU gives us. However, the repartee re: acting vs life goes on well past its welcome, and the production fails. It depends too heavily a concept that isn't developed, merely repeated. An upstage screen keeps throwing the actor's soulful eyes at us - sometimes his soulful eye - and, like the script, it doesn't blink. But this means it never changes, and the self-examination isn't stageable.

The production owes much to the honest, fluid emotional life of its actor, Gernot Rieger. His technique is sharp and sure and polished. When he addresses us, in the play's best moment, he's direct and disarming. "Would you like a relationship with me?" he asks. But still, the answer is decidedly "No". Who'd want to deal with his self-absorption? And when he says "Maybe this is a kind of therapy," we've had enough.

We'd like to see this company again, with its unblinking honesty, when its talents are channeled through a pithier vehicle.

- Steve Capra

Stage Reviews