There’s a compelling theory of art that I’ve run across from time to time, hanging around actors, which says that it’s sometimes the most glaringly problematic aspect of a difficult play or scene—the apparent flaw or lapse, the line or element that doesn’t seem to make sense or fit in—that’s actually the key to the whole thing.
I keep thinking of this in connection with Tony Kushner’s Homebody/Kabul. Not that there’s anything particularly difficult about the play. It’s not hard to follow or to sit through. On the contrary, it’s thoroughly engrossing, complaints about the nearly four-hour running time notwithstanding. It’s Continue reading