An old cheese case from Parma, Italy. A rusted CTA fare box. A dozen fruit-picking ladders. Or as owner Stuart Grannen calls his wares: “Completely useless stuff.”
Two hours: Is it enough for even a part of any person's real life, dramatized? The biopic form practically demands failure, or at least a series of narrative compromises made under pressure from so many factions: the real-life subject, or...
The danger of dense works like John Kolvenbach's play, centered on an urban couple and a brother-sister relationship, is that the richness of the text can get in the way of the characters.