Made The lifespan of a fact himself sacrifice truth to art? Well, that’s a bit. The comic imperatives simplify and push to the extreme some of the argumentation of the play insofar as it feels intellectually compromised, the exchanges often revolving around a false dichotomy between factual truth and artistic truth.
In reality, as the very idea of creative non-fiction shows, aesthetics and precision are no sort of clear antithesis. And if you need an antidote to the tenderness of the room, Atlantic published a tilting demolition from D’Agata’s vision of the test form which offers a more sophisticated consideration of the complexities involved.
It remains a pleasant theater animated by intensified comic performances, all supercharged typologies which stop at caricature.
Literary insiders will immediately recognize the jagged edges Mouzakis brings to a writer whose passionate pursuit of his craft can degenerate into artistic vanity and contempt for ethics, and he gives us some sympathy for the devil in the midst of a performance. thorny and irresistible.
Across from him, Richmond invests the clever but half-socialized intern with a full measure of awkward physical comedy, underscored by a creepy Puritanism just below the awkward exterior as he extends the winning side of the argument up. that it breaks.
Caught between two impossible men, Garner generates restless humor, crushing some of the most absurd outbursts with welcome worldliness.
The direction of Petra Kalive is confident and a thoughtful design adds visual depth to a fun, well-paced production.