ART means different things to different people. That's a good thing. Yasmina Reza's instant classic, ART, is a powerful play that shows how life and art mirror each other, and the script is open to many interpretations. If you saw the touring production of ART that came through Gammage Auditorium last season, don't worry about seeing the same show less than a year later: Through the kaleidoscopic eyes of David Ira Goldstein's interpretation, you're bound to discover more about the play, and yourself, through a second viewing.

Stodgy intellectual Marc's friend, Serge, has bought an obscenely expensive modern painting. It is a series of white diagonal lines on a white background. This insanely irks Marc, who cannot understand the worth of the painting. Along with their manic friend, Yvan, a debate about the interpretation of art spirals into a heated battle of the perceptions of friendship, shaking this trio's 15-year relationship to its foundation.

I'm not exactly sure why, but Mr. Goldstein's production seems to live not in France, but here in the good ol' USA. It could be the decidedly un-French Bob Sorenson, who's enjoyable silliness and superb comedic looks and double takes are rather un-continental, or it could be the rapid-fire delivery of the dialogue, which spends less time thinking, and more time zinging. As a result, it feels just a bit more accessible to American audiences.

There are other directorial choices that differentiate this production from others. There's the restless movement of the actors in the stark white space, a choice that stems from the lack of dialogue-driven blocking. There's the planned or unintentional effeminate nature of David Pichette's Serge that slightly skews the nature of the relationships in the show. Mr. Goldstein has chosen to turn this Marc (Frank Corrado) into a self-righteous prig from the outset, establishing the audience's wariness quickly, and allowing the character to grow incrementally from there. Finally, and a bit oddly, Mr. Pichette seems older than Mr. Corrado, ironic given the discussed nature of their mentor/student relationship. Despite this, it works as an interesting twist to both their characters.

All performances range from solid to exceptional. Mr. Pichette's Serge is the best of the three. He is completely believable as the dermatologist-turned-art connoisseur. His slightly effeminate attitude adds an unexpected twist to this long-time divorcee. While this is only about three male friends, and definitely not about three closeted gay men, his character's "coming of age" is made even more interesting. Mr. Sorenson's buffoonish Yvan is done less endearingly idiotic than the original script intimates, giving more of a Buster Keaton read than a Lou Costello feel, and considering the company Yvan keeps, this is the perfect choice. Mr. Corrado's Marc is a bit too much of a whiner, coming off more childish than threatened. His presentation is a bit stiff, though his final offering is serenely presented and works well.

William Forrester's set is meticulous and works perfectly for the show. The choice of putting the stage on a slight skew rather than a box adds welcome dimension. Tracy Odishaw's lighting is perfectly expressive, and the few moments of color shine. Sound Designer Brian Jerome Peterson's offerings are also perfect. The only weaknesses are Samantha K. Wyer's fight choreography, which was badly muffed on opening night, and Kish Finnegan's odd choices for costumes. It's probably true that there is an attempt at creating a French-feel, but Yvan and Serge's shoes are odd, Serge's vinyl coat unbelievable for his character, and Marc's strange burgundy shirt, when added with highly polished brown shoes and belt, is simply an ugly combination from such a conservative fellow.

This epic battle of friends makes for a wonderful show, and its clever dialogue deepens with each viewing. If you're not a fan of talky, this maybe one to miss, but if you adore people who are being too clever by half, and a deep look at what makes us tick, both ethereally and literally, then you'll definitely enjoy this show.

Production Details:
ART by Yasmina Reza, Translated by Christopher Hampton
Arizona Theatre Company
The Herberger Theater Center Main Stage, Phoenix
(602) 256-6995
October 6th - 22nd, 2000

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