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The Lifespan of a Fact, playing at
Theaterworks in Hartford through March 8, is what I term a good cheesecake
show--after the performance you want to go out with friends for a slice of
creamy New York cheesecake and discuss the merits and the questions pondered in
the production.
There are
a number of timely and important issues raised in this riveting,
thought-provoking, and entertaining play. The essential questions
are who and what define a fact, in this case, within a non-fiction magazine
article (or essay as the character John refers to his
work)? Is it necessary for a fact(s) to be thoroughly vetted
before publication or is a cursory examination okay? Lastly, should
the author of a piece have some leeway with the veracity of the facts to allow
for editorial and creative flexibility?
Playwrights
Jeremy Kareken, David Murrell, and Gordon Farrell have taken the book by John
D’Agata and Jim Fingal and fashioned an intriguing, rooted in truth,
story. Emily (Tasha Lawrence), the editor of a high-powered
magazine, recruits Jim (Nick Lamedica), a young, eager intern, recently
graduated from Harvard, to fact check an article by star journalist John (Rufus
Collins). Taking his assignment to heart, Jim begins to scrutinize
the writer with what seems like, at first, the minutiae within his work, but
eventually encompasses much more. This leads to emotional-laden
discussions on what exactly is a fact within the context of a truth-based
article/essay. Should a writer be handcuffed to the facts or, if the
essence of the story is correct, some latitude should be
allowed? There are numerous outbursts, justifications, and pleadings
by all parties. Even Emily becomes involved in the fray, but her
motives not only encompass journalistic ethics, but also the economic realities
of publishing a magazine at a time of dwindling subscription numbers and the
downward spiral of ad revenues.
The
premise of The Lifespan of a Fact has taken on more urgency in
today’s world of “fake news,” sometimes low editorial standards, and the
public’s distrust of the media.
As the
80-minute, intermission-less production progresses, you begin to take
sides. Whose argument and rationalization is more meaningful and
defensible? As someone who came of age during the Watergate
investigation, where reporters Bob Woodward and Carl Bernstein famously would
not print an accusation or revelation unless there were two corroborating
pieces of evidence, my allegiances lean towards accuracy. I found
John’s explanations more self-serving and pompous.
The
three-person cast is first-rate. Nick Lamedica, is superb as the
eager, passionate, youthfully arrogant employee. He brings an
intensity, but also innocence to the role. Rufus Collins, projects
honesty and zeal as John. He is combative and cantankerous, but also
a principled professional fervent about his methods. Tasha
Lawrence has an officious presence in a role where she is more referee between
the other two characters. Her forcefulness, though, keeps the play
on track to its surprising, but satisfying ending.
Director
Tracy Brigden keeps the pacing brisk, never letting the sermonizing and
moralizing become too tedious and prosaic. She smartly builds the
dramatic arc slowly, layering in more information and inquiries as the play
moves forward. She skillfully meshes the comedic side of the
work with the serious and contemplative aspects of the
production. Her most pivotal choice is the use of silence during key
parts of the show.
Set
Designer Brian Prather’s matter-of-fact two set staging is artistically
augmented by Lighting Designer Brian Bembridge, Sound Designer Obadiah Eaves,
and Projections Designer Zak Borovay. They have combined their
talents to transform the intimate Theaterworks space into an inspired and
inventive set.
The Lifespan of a Fact, a provocative production that is sure to
provoke debates and discussions. And make mine a cherry cheesecake.
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