| I'm a big admirer of Nelson, but after his last trilogy, which had its moments, but in my opinion was uneven, I wondered if maybe this technique or style or innovation or whatever you call it had run its course. But this play, imo, is the most successful of his plays in this style. Maybe because of the true-life, fly-on-the-wall aspect, which makes it such a fascinating (to me) bit of NY theater history. But more than that, it's such a true to life portrayal of the many facets of the theatrical milieu with all its ambitions, aspirations, jealousies, insecurities, and more. I was so absorbed in the play, I didn't think of it as a play, and the actors as performers, until very near the end. They were all so utterly at ease in their skins and in the words of the play that it truly had the verisimilitude of life. So glad The Public late-ticketed me when I missed an earlier date due to illness. |
