The Lifespan of a Fact
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Cititour.com Review
A young, over-dedicated intern at a magazine and a more celebrated writer argue endlessly, repeatedly, even repetitiously over possible “mistakes” in the writer’s article about a suicide in Sin City. Hardly sounds like the most stimulating subject matter, you might think. Well, think again!
This true-life scenario sparked a much-celebrated book “The Lifespan of a Fact” in 2012 by the parties in question – Jim Fingal and John D’Agata – and has now resulted in a marvelously entertaining and thought-provoking play of the same name, one that could have a lifespan of years at Studio 54 if its three marquee-worthy stars, Daniel Radcliffe (as Fingal), Bobby Cannavale (as D’Agata) and Cherry Jones (as editor Emily Penrose), were able to commit to more than a 16-week run.
As good as any magic act in Las Vegas are the show’s script by Jeremy Kareken, David Murrell and Gordon Farrell, the flawless direction of Leigh Silverman, and the astounding work of this talented triumvirate, all of which combine to bring out the sometimes broad yet deeply human comedy of the plot as well as the intellectual underpinnings of the situation at hand.
The overreaching subject of D’Agata’s “essay” is the story of Levi Presley, the 16-year-old who committed suicide by jumping from the top of the Stratosphere Hotel. (It was eventually published in “The Believer” magazine in 2010, having been previously rejected by “Harper’s”). But the battle onstage is less about the circumstances surrounding Levi’s death than the notion of “truth,” which is defined very definitely by the three characters. (That said, the pair’s memoir is by their own admission an embellishment of their years-long battle over the piece, and the play further plays a little bit fast and loose with Penrose’s role in the dispute as well as the timeline.)
Still, what makes “Lifespan” so theatrically vibrant is the full-bodied characterizations of its players, and how brilliantly they’ve been brought to life. Radcliffe, in yet another impressive stage performance, completely embodies the passion, arrogance and obsessive-compulsive nature of Fingal, a young man of enormous privilege (he constantly brings up his recent Harvard education) and little social grace who seems equally determined to “make good” at his dream job and win his battles at any cost (because he’s used to winning). His methods and ideological stubbornness – there’s little doubt that he truly believes journalism allows no margin of error -- can make Fingal a somewhat difficult character to root for, and Radcliffe earns bonus points for never pandering to the audience for sympathy.
In the equally hard-headed D’Agata, Fingal has certainly met his match. He’s splendidly embodied by Cannavale – with just the right, slight touch of menace -- as a man who overcame personal hurdles to achieve his success and who firmly believes the overall “truth” of his vision is far more important than the number of strip clubs in Las Vegas, the color of the bricks at the base of the Stratosphere Hotel, or the size of a so-called “traffic jam.” Yet, even if you are able to take his side, it’s hard to understand his obstinacy in not changing a key point about how another teenager (a young woman) committed suicide on the same day.
Were the play simply this “mano a mano” battle, it might wear too thin before its 85 minutes, but the ever-wonderful Jones proves to be its secret weapon. Her Emily is alternately flinty, frustrated, self-reliant, maternal, and above all, pragmatic, trying desperately to balance her own standards with what she knows might be the benefits of publishing D’Agata’s piece even with some of its inaccuracies intact. More than either man, Emily – especially in Jones’ expert hands – becomes the heart and soul of the play.
Admittedly, the work’s subject matter may appeal a bit more strongly to people in my profession than the average audience member. But especially in our current socio-political climate, anyone and everyone can and should relate to the work’s warnings about the importance of credibility, and how the fudging of details, or complete disregard of them – D’Agata’s stock-in-trade – is a dangerous road to walk down.
By Brian Scott Lipton
Visit the Site
https://www.lifespanofafact.com/
Cast
Daniel Radcliffe, Cherry Jones, Bobby Cannavale
Open/Close Dates
Opening 10/18/2018
Closing 1/13/2019
Theatre Info
Studio 54
254 West 54th Street
New York, NY 10019
Map
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