Mistakes Were Made
“I can’t remember the last time I laughed so hard and so often at the theater,” said Erik Haagensen in Backstage.
Barrow Street Theatre
New York
(212) 868-4444
Subscribe to The Week
Escape your echo chamber. Get the facts behind the news, plus analysis from multiple perspectives.
Sign up for The Week's Free Newsletters
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
***
Thanks to a “tour de force” comic performance by Michael Shannon, Mistakes Were Made is “100 minutes of high-octane bliss,” said Erik Haagensen in Backstage. The story of a small-time producer’s desperate attempt to bring a historical epic to Broadway with just his wits and his telephone, it’s essentially Shannon’s one-man show. Sure, Craig Wright’s script provides some “explosively funny” material. As low-rent huckster Felix Artifex, Shannon also fields a stream of speakerphone messages from his secretary (“another delicious source of humor”) and shares some of his worries with a morbidly obese goldfish. But listening to Shannon juggle calls on 10 phone lines is all the entertainment I could ask for. “I can’t remember the last time I laughed so hard and so often at the theater.”
Still, “a satisfyingly whole play is not easily constructed from half of a conversation,” said Charles Isherwood in The New York Times. We hear Artifex chatting up a variety of quirky characters, from the play’s novice writer to the prissy Hollywood star who’s being courted for the lead. The quirks of these unheard sounding boards add texture, but they also undermine the story’s plausibility. Artifex himself is a type that went extinct long ago, and the idea that even he would bet everything on a no-name writer is highly unlikely. Whenever Artifex “interrupts his spiel to let his callers have a word,” the audience is given “a little too much time” to ponder such holes.
But Wright didn’t intend Mistakes as a simple showbiz satire, said Scott Brown in New York. It’s obvious “from minute one” that Shannon’s old-school flimflammer is overmatched, and the character is so maniacally devoted to pitching that “it’s far from clear” whether he believes in the pitch himself. As Artifex slides into a full-scale meltdown, Wright’s farce becomes more than a modern gloss on Mel Brooks’ The Producers. It offers a trenchant commentary on “the widening chasm” in our world “between magical thinking and actual achievement.”
Sign up for Today's Best Articles in your inbox
A free daily email with the biggest news stories of the day – and the best features from TheWeek.com
-
5 wild card cartoons about Trump's cabinet picks
Cartoons Artists take on square pegs, very fine people, and more
By The Week US Published
-
How will Elon Musk's alliance with Donald Trump pan out?
The Explainer The billionaire's alliance with Donald Trump is causing concern across liberal America
By The Week UK Published
-
Netanyahu's gambit: axing his own defence minster
Talking Point Sacking of Yoav Gallant demonstrated 'utter contempt' for Israeli public
By The Week UK Published
-
If/Then
feature Tony-winning Idina Menzel “looks and sounds sensational” in a role tailored to her talents.
By The Week Staff Last updated
-
Rocky
feature It’s a wonder that this Rocky ever reaches the top of the steps.
By The Week Staff Last updated
-
Love and Information
feature Leave it to Caryl Churchill to create a play that “so ingeniously mirrors our age of the splintered attention span.”
By The Week Staff Last updated
-
The Bridges of Madison County
feature Jason Robert Brown’s “richly melodic” score is “one of Broadway’s best in the last decade.”
By The Week Staff Last updated
-
Outside Mullingar
feature John Patrick Shanley’s “charmer of a play” isn’t for cynics.
By The Week Staff Last updated
-
The Night Alive
feature Conor McPherson “has a singular gift for making the ordinary glow with an extra dimension.”
By The Week Staff Last updated
-
No Man’s Land
feature The futility of all conversation has been, paradoxically, the subject of “some of the best dialogue ever written.”
By The Week Staff Last updated
-
The Commons of Pensacola
feature Stage and screen actress Amanda Peet's playwriting debut is a “witty and affecting” domestic drama.
By The Week Staff Last updated