Posted by Mr. Beaks ;

; When Craig Lucas made his off-Broadway comeback in 1998 with The Dying Gaul, expectations were that the light touch of Prelude to a Kiss and Reckless had likely given way to a somewhat weightier hand, considering that the writer was mourning the loss of several loved ones, including his longtime collaborator, director Norman René.; A healthy dose of melancholy would’ve been palatable; instead, audiences got a shockingly bilious work of self-recrimination that infuriated and closed quickly.;

; A tragic tale of artistic compromise that curdles into metaphysical betrayal, The Dying Gaul satirized

Hollywood with brass knuckles.; Seven years later, Lucas has opened up his play and turned what was once a full frontal assault on the studios into a wincingly personal thriller that might’ve caught the fancy of no less a neurotic than Alfred Hitchcock.; On the surface, it looks like a by-the-numbers cautionary tale in which principled, and gay, playwright Robert (Peter Sarsgaard) sells out to bisexual production executive, Jeffrey (Campbell Scott), whose retired screenwriter wife, Elaine (Patricia Clarkson), becomes obsessed with Robert’s unhappiness.; But it is so much more than that.; Few films this year have evinced the thematic malleability of The Dying Gaul, and none have boasted a more accomplished ensemble than Scott, Sarsgaard and Clarkson.; As was the case on stage, Lucas leaves his tale frustratingly unresolved, but provocatively so.; It’s a beautifully played chamber piece and the most emotionally satisfying iteration of a story that never comes completely into focus.; And I mean that in a good way. ; I had the opportunity to briefly chat with Craig several weeks ago as he made the publicity rounds for what I hope will be his breakthrough film.; He was in buoyant spirits, and, best of all, let slip a scoop about a potential musical that could very well win him his first Tony (Craig was nominated again this year for writing the book for The Light in the Piazza, the music for which was composed by Adam Guettel).; Even if you’re not a big theater queen like me, give this a read.;