David Mason

David Mason beautifully bottles up Mike’s simmering rage and frustration, then lets it boil over to perfection.

…performed by a glittering ensemble cast…

…Esparza and Mason match, if not exceed, Rodriguez’s flamboyance in defending their respective characters’ fiefdoms. Moritz von Stuelpnagel directs, and if there has been a more fired-up ensemble on the New York stage this year, I haven’t seen it. Rebeck wrote three big roles, and this trio puffs them up into something even bigger.

Under the superb, precisely choreographed direction of Moritz Von Stuelpnagel (Hand to God, Present Laughter), the actors go through their frenetic verbal and physical paces like expert farceurs.

David Mason, a master of the harried slow burn…

[Mason] is another actor with the gift of the spoken word, and every emotion he told of was grueling, wrought with either the deepest feelings of pain, regret and on occasion, happiness when speaking of his childhood. He gives a riveting performance, and watching both he and Fowler undoubtedly makes for one of the best…

Mason is brilliant here. He shines from the corner of a room, or from the chair with the sawed-off legs. He knows how to make a lack of words speak pages and pages in folio size.

The scene toward the end of the second act with Tom, played by David Mason, gave the evening an unexpected depth. Mason, in particular, inhabited a character who doesn’t easily communicate emotions. Hilarity ensued with every sentence from Tom that would hang and hang there.

David Mason, as Terje, never lets the character’s intellectual passion for peace completely outshine the man’s egotism. Terje wants to be the center of attention yet must accept a role deep in the background of history, so Mason dips his head to cede the limelight but lets us see Terje’s yearning to take credit. Mason is captivating.

Mason is absolutely frightening from the outset…[his] Adam is haunting, as Adam should be; and like his namesake, he is the progenitor of a world of mistakes and emotional upheaval.