I had a friend who divided the world into two types of personalities - hedgehogs and foxes. According to his theory, hedgehogs live dull, quiet, orderly lives as they travel well-defined and safe paths along a row of hedges. They find safety in not taking risks. On the other hand, foxes use imagination and cunning to find sly, original paths to accomplish their goals. There is nothing safe about a fox.
“The Lifespan of a Fact” is a story about a hedgehog and a fox. There is a third character who might be considered as representing the owner of the hedges.
“The Lifespan of a Fact” is based on a true story. John D’Agata, a highly respected writer, was commissioned to do a story about the plague of teenager suicide. It centers about a young man who threw himself off a building in Las Vegas. Anyone who reads his piece agrees that it is a brilliant and a poignant story about an important issue, as well as a defining portrait of a tragic individual.
The editor of the magazine assigns fact-finding responsibilities to a young man who very recently graduated from Harvard. Such assignments are usually courtesy reads meant to check grammatical errors and to discover if there are important errors in fact that could result in the magazine being sued.
Jim Fingal takes his fact-finding job seriously. He discovers almost 200 errors ranging from minor discrepancies to important and serious misrepresentations of fact. D’Agata considers himself an essayist not a journalist. Therefore he believes his obligation is the emotional truth of the piece. If adhering to accuracy changes the rhythm of the writing or diverts the reader’s attention it is harmful rather than beneficial.
After their hostile experience, the two men collaborated on a book titled “The Lifespan of a Fact.” It detailed their passionate, ethical debates. Jeremy Kareken, David Murrell and Gordon Farrell adapted it into this 90-minute play.
The compelling moral core of the work makes the play an intriguing battle over the ambiguity of truth. It sounds as if it could be dull, and, sorry to say, it sometimes is. Fortunately, saving the experience there is abundant humor in the staging that makes it what might be called a philosophical comedy.
The trio of actors manage to overcome a slow expository start and build the tension between D’Agata and Fingal. Wisely Director Laurie Larson focuses on the comic awkwardness of Fingal to keep this early segment from being tedious. Larson is also strong in keeping the shift of sympathy for each side of the argument appear legitimate rather than contrived.
Tension enters the play with the appearance of J Hunter, who plays D’Agata with a sense of surly superiority. His disdainful dismissal of Fingal is an insulting challenge to the ambitious young man’s skill and beliefs. Indeed, in their interaction Keaton Poore as Fingal brings both comedy and frustration to the situation. He challenges the audience to like him because of his irritating refusal to be flexible, even in minor things like defining what constitutes a traffic jam. But, thanks to Poole’s knack for comedy, we do like him.
Thanks to a confident and consistent portrayal by Hunter that is centered on D’Agato’s giant ego - we know his stance on truth. We are less certain about Poore’s motivations. It evolves throughout the play to make us wonder if he is driven by devotion to accuracy or is it craven ambition?
The editor, Emily Primrose, is an invented character and as such, poorly fleshed out by the adapters. Barbara Minor plays her in a quiet but authoritative manner that offers a contrast to the firmness the men have about their beliefs. But her backstory is vague; secrets are suggested but never explored.
Sadly, her interpretation of the woman is lessened by poor costuming choices by JJ Buechner. Minor is denied clothing that would establish her as a female power figure in a tough industry. Instead she is dressed in clothing that diminishes her status as an authority figure.
Too, in a work about the importance of accuracy, D’Agata is caught in a lie about going for a run. He is asked, why would you go for a run wearing a suit? My aged eyes recall him wearing jeans and a plaid shirt at the time he made the statement. It saves a costume change - but is it life imitating art?
On the other technical hand, William E. Fritz’s set design features three ideal playing spaces, that is made even more functional by Steve. Moulton’s lighting. The set is a proper analogy for the production. It’s spread out and covers a lot of territory but knows how to focus on what is important.
“Lifespan of a Fact” produced by Home Made Theatre plays at the Saratoga Arts Center on Broadway, Saratoga Springs. It runs Friday-Sunday. For tickets and schedule information go to homemadetheater.org or call 518-587-4427.
Bob Goepfert is theater reviewer for the Troy Record.
The views expressed by commentators are solely those of the authors. They do not necessarily reflect the views of this station or its management.
