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Then, I think, one married the faceless man?
I mentionPlanobecauseCorsicana(now at Playwrights Horizons) is that plays twin and reflection.
The autobiography in both adds a secret depth and ballast, even when other parts seem wild.
But where the witchyPlanowas exquisitely integrated throughout, the more realisticCorsicanaseems at odds with itself.
Corsicanais dedicated to Julia, Arberys older sister, who has Down syndrome.
This fundamental ambivalence about playwriting itself informs Will Daggers performance as Christopher, the plays Arbery avatar.
Vocally, theyre an orchestra, well conducted by director Sam Gold.
And I am sensitive.
My heart is like this dream-wish about things.
The best thing about my heart is that I can talk to anybody.
Where they do connect is in their experience of others, or rather of beingothered.
Or someone like you comes around.
Were so complicated people dont want to think about it.
So they make us more simple.
They dont think about it, and they call us simple.
And everything is about our needs.
All our little needs.
His writing here is exquisitely judged and particular, yet always ringing to the same, just-out-of-audible-range tuning fork.
Just when all those complicated pieces are careening and moving, Arbery runs out of restraint.
And when a writer gets nervous, thats when the monologues start.
First, he has Christopher deliver a fantastic, overwritten shaggy-dog story that should end the play.
Then he writes a monologue for Justice, a clotted, wandering, almost unsayable treatise on love.
Who says as to make it?)
Then theres one for Lot that contains far too much explanation and confession, rupturing Lots own laconic mystery.
Golds production makes up for that missing restraint by being ruthlessly spare.
(Imagine not being squashed by an elephantthatsize.
At the end ofCorsicana,everybody stops speaking and sings.
Corsicanais at Playwrights Horizons through July 10.
