Based on a True Story (about False Facts)

The Lifespan of a Fact is a witty, fast-paced, comic journey into the nature of truth; or rather factual accuracy versus the big Truth. Based on real events, the script by Jeremy Karekan, David Murrell and Gordon Farrell is written to send sparks flying in a thought-provoking debate about the meaning of truth, and exactly what amount of creative license belongs in a work of non-fiction. This production by Oil Lamp Theater, under the direction of Elizabeth Mazur Levin, undoubtedly achieves Levin’s goal of leaving audience members primed for discussion.

The set and staging is creative, making effective use of the modest venue. Bare white office walls become windows into a remote scene, and then disappear to bring us fully inside the next setting. Attentive audience members will find the office’s framed artwork a clever nod to one of today’s hot topics in truth versus fiction.

The show opens with the harried editor, Emily Penrose, [MARIANNE EMBREE], on one of her endless phone calls. Emily sets the scene – she is determined that Harper’s will publish ‘What Happens There’, an essay by esteemed author D’Agata, and she wants it published in the immediately upcoming edition. There is only one little thing standing in the way – a fact checking exercise meant to put on the show of a good faith effort. The assignment is on a deliberately quick deadline, and given to whichever intern can be ‘volun-told’ to get it done.

JAMES WHEELER brings non-stop energy to the role of Jim Fingal, the over-achieving fact checker. Fingal, the eager young intern, is absolutely the wrong man for this job. He attacks the assignment like a terrier after a rat, shaking loose every discrepancy no matter how inconsequential. Wheeler delivers this with the intensity and the guilelessness of an unhouse-broken puppy. What at first seems to be Fingal’s desire to make a good impression is revealed as an unswerving allegiance to accuracy.

On the opposite side of the philosophical spectrum is John D’Agata [TIM WALSH], a prominent writer who seems to be more than a bit on the ropes. Despite his reputation he lives in his mother’s tiny, dated home and teaches at a less-than-prestigious university. D’Agata is not amused by Fingal’s daring to dig into the details illustrating his essay. One can almost smell yesterday’s alcohol wafting from Walsh’s D’Agata as if carried by his wry sarcasm.

The two swipe and swing at each other as the debate progresses. D’Agata is alternately bullying, dismissive or eloquently pleading his position with Fingal incredulous at the writer’s adherence to musicality and symbolic meaning over hard facts. More than once Walsh’s sardonic delivery hits Fingal like a rolled up newspaper. Wheeler’s intensity hits the mark in a comically diagramed proof eviscerating one of D’Agata’s embellishments. Emily tries to avoid bloodshed and lawsuits equally.

In some ways The Lifespan of a Fact is a contrast between then and now, between the soft-edged world of ma’s living room and the digital jungle of a thousand Reddit detectives out for blood, between the relentless young Fingal and D’Agata’s world-weary literary Libertine.

There is no clear hero on either side of this debate; each man takes their own ludicrous extremes. Fingal can’t get past the uncertain number of stripclubs, and almost blows up insisting “at” must be replaced with “near”. For his part D’Agata manufactures the presence of the number 9 so he can correlate its esoteric meaning with the tragedy of a Vegas death.

Although high-intensity exchanges pervade, there are slower reflective moments. In one scene the three characters take turns reading passages from the essay aloud, bringing the audience into somber contemplation. D’Agata’s monologue about his mother’s chair confronts us with the mutability of words, and Truth as that which best symbolizes the essential meaning.

The Lifespan of a Fact will continue to shout its questions into the world. If you listen you might learn something about your own view of truth.

Somewhat recommend

All performances are at the Oil Lamp Theater, 1723 Glenview Road, Glenview IL

Show dates are March 14 through April 6. Performances are Thursdays, Fridays and Saturdays at 7:30, with matinees Saturdays and Sundays at 3pm, and additional performances on some intervening Wednesdays.

Tickets are available for a $55 by going to www.OilLampTheater.org

Additional information about this and other productions can be found by visiting www.theatreinchicago.com