‘THE LIFESPAN OF A FACT’: Bobby Cannavale & Cherry Jones. Photo: Peter Cunningham

THE LIFESPAN OF A FACT
Written by Jeremy Kareken, David Murrell & Gordon Farrell
Based on the essay/book by John D’Agata & Jim Fingal
Directed by Leigh Silverman
Through January 13, 2019
Studio 54
254 West 54th Street
(212-239-6200), www.lifespanofafact.com

By David NouNou

It’s been a long dry spell in the theater since we’ve had such a direct bullseye of a play with a compelling storyline, wonderful acting, razor-sharp direction; one just can’t help but have a hell of a good time. Although the title may suggest the plot, The Lifespan of a Fact has unexpected twists that you wouldn’t expect, and it ends up being an intelligent, thought-provoking comedy and great entertainment.

Based on a 2012 essay/book written by John D’Agata and Jim Fingal, about an essayist, not a journalist, Jim (Bobby Cannavale) having his essay (not article) published by the editor of a reputable magazine, Emily (Cherry Jones). Emily hires a fact-checker, Jim (Daniel Radcliffe,) to make sure that all the details of John’s essay are indeed factual. What you need to know is that John is brash and doesn’t care for the details as long as the essay reads well from a literary perspective, Emily is a no-nonsense editor, and Jim, well you’ll have to see the show to know about Jim.

The essay is about a 16-year-old boy committing suicide by jumping off the highest point of a hotel in Las Vegas and the things that took place on that particular day. And so, starts the play with Jim fact checking the first inaccuracy of whether 31 or 34 houses of ill repute shut down on that day due to the tragedy. That is in paragraph one. Let’s just say we don’t even get to paragraph two.

Although there is no mention of any of the current lies that are coming from the White House on a daily basis, the importance of fact-checkers has never been more relevant than they are today. We once lived in innocent times when fact-checkers were being eliminated by magazines and newspapers due to budget constraints; now they are working around the clock to keep up and catch all the lies and misrepresentations and herein lies Jim’s expertise.

As I mentioned earlier, the cast is impeccable. Starting with Daniel Radcliffe who has never been better and is able to display his sharp delivery and exude a presence lacking in his previous outings on Broadway. He was mainly known as the child actor who played in all the Harry Potter movies. He is no longer a child or Harry Potter; he is simply an actor doing his best job to date and if this play had opened in April of 2019, he would have been a sure contender for the Tony. As it is still only October, April is a long way off and some performances can be forgotten, but this one is indelible.

Bobby Cannavale gives passion to John and his belief in his essay, that although it may have holes in it, he believes that’s the way it happened, and he exudes strength in his justification. Cherry Jones, who always plays the centerpiece in every show, has a secondary role but of equal importance because she has to make the decision of what is right and what would be libelous. There is a lot of strength in her performance, dividing her energy between her essayist and her fact-checker.

Leigh Silverman has directed her cast with precision and expertise; not a line is thrown away and every gesture speaks volumes. The play is in constant motion and never lags for an instant. My one regret is the play is only running till January 13, 2019. What a shame it’s not like the olden days when a straight play had a life of its own and could run as long as it needed instead of a limited engagement.

Edited by Scott Harrah
Published October 23, 2018
Reviewed at October 22, 2018 press performance.

‘THE LIFESPAN OF A FACT’: Bobby Cannavale. Photo: Peter Cunningham

‘THE LIFESPAN OF A FACT’: Cherry Jones. Photo: Peter Cunningham

‘THE LIFESPAN OF A FACT’: Daniel Radcliffe. Photo: Peter Cunningham

The post ‘The Lifespan of a Fact’: Truth, accuracy & egos appeared first on StageZine.

BLOW OUT YOUR CANDLES, LAURA: Celia Keenan-Bolger meets ‘gentleman caller’ Brian J. Smith in ‘The Glass Menagerie.’ Photo: Michael J. Lutch

THE GLASS MENAGERIE
By Tennessee Williams
Directed by John Tiffany
Booth Theatre
222 West 45th Street
(800) 447-7400, http://theglassmenageriebroadway.com/

By Scott Harrah

Note to any producers in the future, thinking about a Broadway revival of an American classic:  This is how it’s done.  Tennessee Williams’ first play is also his most delicate, and some might argue, surprisingly accessible.  This epic of a St. Louis family in the 1930s has none of the vivacity of his later plays, but its simplicity makes it particularly heartbreaking and timeless. It only works with the right cast, without gimmicks. Despite some noticeable changes only purists might argue over, this is the most authentic Tennessee Williams production (of any of his plays) on Broadway in decades.

Director John Tiffany and scenic designer Bob Crowley have made some stylistic enhancements to The Glass Menagerie, from a reflecting pool of water to a stylized set featuring a tower of fire escapes, but nothing is distracting, and Williams’ simplistic yet florid dialogue and tragic story remain intact. The production recently transferred to Broadway from the American Repertory Theater in Cambridge, MA.

The vulnerability Cherry Jones brings to Amanda Wingfield, the domineering mother, is both refreshing and true to the character.  Whether she’s nagging her children or recalling her glory days in Dixieland, we hear the sounds of desperation in every syllable.

Zachary Quinto’s take on Tom, the protagonist and narrator, is powerful in all the right places:  Sometimes nervous, ill at ease, with hyperactive movements. Whether he is arguing with his mother or talking about the drudgery of working in a shoe factory and spending mysterious nights at the movies, he displays an impressive range of awkward longing and raw emotions.

Celia Keenan-Bolger’s Laura is perhaps the strongest asset of this production. As written, the crippled, painfully shy character can easily be seen as fragile, but not terribly interesting.  However, Ms. Keenan-Bolger adds new dimensions here and thrives as a pretty but mentally and physically damaged being, relating only to her glass animal collection and words of encouragement from her brother and mother.  There is plenty of life in Ms. Keenan-Bolger’s Laura, and she really shines as an about-to-blossom flower when the famous Gentleman Caller (Brian J. Smith) arrives. Mr. Smith is entertaining as the man Tom invites over for dinner, after Amanda insists on finding a suitor for “Sister.”

The main thing missing here (often featured in other productions) is the large portrait of Mr. Wingfield, the father who left the family years earlier. But we don’t miss it, for it’s more realistic to not see the person who hasn’t been seen for ages in this doomed household.  These subtle directorial choices by John Tiffany, combined with the exceptional acting, make this a perfectly polished Glass Menagerie we may never see again.

REVIVAL REINVENTS ‘GLASS MENAGERIE’: (left to right) Zachary Quinto, Cherry Jones & Celia Keenan-Bolger in Williams’ superb memory play. Photo: Michael J. Lutch

MOTHER & DAUGHTER DISCORD: (left to right) Celia Keenan-Bolger & Cherry Jones in ‘The Glass Menagerie.’ Photo: Michael J. Lutch

The Glass Menagerie – 7 Tony Nominations, including: Best Drama Revival, Best Dramatic Actress – Cherry Jones, Best Dramatic Supporting Actress – Celia Keenan Bolger, Best Dramatic Supporting Actor – Brian J. Smith, Best Director – John Tiffany, Best Set Design, & BEST LIGHTING DESIGN – NATASHA KATZ.

Edited by Scott Harrah
Published October 4, 2013
Reviewed at press performance on October 2, 2013

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