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of three men: Serge, a dermatologist, Marc, an aeronautical engineer, and Yvan, a clerk in a stationery store. Serge and Marc have a brotherly relationship: lots of respect and competition between them. Yvan is their court jester, a simple man they use for entertainment, although they care about him and his well-being. The conflict arises when Serge blows 200,000 francs (about $35,000) on a painting. It is white on white with some white diagonal lines. Is it art? Serge is convinced by the "experts" -- and the fact that he could sell his prize acquisition to a peer dilettante for 20,000 francs more than what he paid for it -- that it is. Marc is incensed. He is hurt that Serge did not ask his opinion before making such a huge investment. Marc's a bit high strung, anyway, alternately swallowing mouthfuls of Ignatia (for nervous conditions and apprehension) and Gelsemium (temporary treatment of all sorts of conditions from stage fright to migraines.) In addition to his belief in homeopathy, Marc is a classicist snob, looking down on anything modern or avant-garde. Thus the argument begins. How to arrive at an agreement over the meaning of art and friendship? Is art just a symbol for the turmoil and pleasure (Serge has just won visitation rights with his daughter) relationships throw us in? Marc and Serge use Yvan as a common ally, at first. Yet Yvan has his own problems. He is in the middle of planning a wedding that is an obvious mistake. Will he let his friends talk him out of it? The parallels used by playwright Yasmina Reza are simple yet effective. Serge tells Marc he doesn't like Marc's wife. Marc is stunned. Why didn't Serge tell him earlier? Would that have affected his decision to marry? Would Marc's disapproval of the painting ("a '70s Antrios") have affected Serge's decision to purchase it? The answer lies in Yvan's reaction to his two friends telling him to call off the wedding. What matters to an individual more: his friends' approval or his own satisfaction? Such is the type of question explored in this play. Reza says the topic of the play came from her own experience. Currently, in France, there is great debate over the concept of modern art. With this play, Reza has taken that discussion and disseminated it throughout the world. "Art" is also written specifically for men -- Reza will not let it be done by women. It is powerful to see men discussing relationships with other men in an intimate, revealing fashion. Imagine the power of such discussions in the various countries that have staged "Art." To date, the play has been translated into more than 20 languages and has won numerous awards, including the 1998 Tony for Best Play (U.S.), the Moliére Award for Best Author (France), and the Olivier Award for Best Comedy (England). This play poses a challenge for actors. They must be able to perform drama and comedy with equal ease, and to switch back and forth often. Dan Kremer turns in a marvelous portrayal of Serge. He is focused throughout as thoughtful, troubled and intellectual. His desire for Marc's approval and friendship is clear; yet so is his insecurity that must be covered with studied dignity. Tony DeBruno, who has performed with the Oregon Shakespeare Festival for 10 years, is Marc. While his comic moments are highly appealing, some of his dramatic moments are lost due to awkward line delivery. Robert Barton plays Yvan. His comic portrayal of the high-strung, neurotic man/boy is entertaining, drawing huge laughter from the audience. But there are several instances where he goes too far in his childish emotionalism, causing him to flub lines and become unbelievable. His performance needs to be reigned in to make his character work. The set design by Michael Ganio is original and imaginative, a huge cut-out box, or possibly a wedding invitation, with the definition of "art" written on it. Lighting by Michael A. Peterson was effective in switching moods for the actors' soliloquizing. In all, "Art" will leave you pondering the meaning of artifice and reality, art and relationships. It is an enjoyable, worthwhile venture into the realm of ideas. The play lasts only 90 minutes, with no intermission, and continues at the Hult through Nov. 26.
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