Camp is equally persuasive when Jo is transformed into an ambitious but conflicted adventure-seeker willing to go wherever her story takes her - even as she gleans that she’s being manipulated by those weird Norwegians. With her wholesome blond beauty, she’s perfectly cast as a former homecoming queen, but Ms. Camp performs a similarly impressive feat in the central role. McGrath niftily tread the line between perky professionals and sinister agents of obscure evil as they check in on Jo’s progress. “Pinot Grigio Tears” is among the hilarious titles of the fabricated memoirs that Andreas and Sven deride (although it actually sounds like something one of the “Real Housewives” of Bravo fame might pitch). I’ll rework the dialogue.” Andreas and Sven’s taste for “bold characters making interesting choices” neatly expresses the generic marketing-speak prevalent throughout the media. After Jo receives an ardent confession of love from Winston, she responds: “It’s overwrought, but that’s fine. When it is tartly sending up the absurdities of the tell-all craze, “Verité” is consistently funny. Serralles, attempts to talk Jo out of this bizarre scheme by reminding her that she has pledged her love to her husband, Jo rationalizes her decision thus: “I will always honor that vow. Soon, Jo is echoing the jargon of her editors, gently rebuffing Josh by telling him, “It’s not that I don’t think you’re commercial, it’s just that you may not be right for this particular story.”Īfter Liz, played with sharp humor by Ms. Goodbye, Myrtle Beach - and, temporarily, loving family. Although she doesn’t actually remember Winston ( Ebon Moss-Bachrach, Marnie’s songwriting partner on “Girls”), he invites her for a drink and eventually to join him on a business trip to Bogotá, Colombia. They live in an attic apartment of the house owned by Josh’s sister, Liz (Jeanine Serralles).īut luck seems to favor Jo when she runs into an old high school friend while out shopping. Josh’s landscaping business went belly up, and now he drives a shuttle bus at Newark airport. The bewildered Jo suggests as much, but when they coolly offer her a $50,000 advance, she’s tempted to take the money and worry about the details later. would not to make for gripping reading. Out of the blue, she’s called to a meeting with a publishing company run by a pair of amusingly accented men - Norwegians, apparently - who briskly inform her that while they are not interested in buying “Dragonscape,” they are intrigued by her voice, both “raw” and “fresh.”Īlmost interchangeable in their shiny suits, with similarly perky demeanors, Andreas (Robert Sella) and Sven (Matt McGrath) evince an eerie conviction to sign up Jo for a book about her own life, although what they already know of it - she resides with her husband, Josh (Danny Wolohan), and son, Lincoln (Oliver Hollmann), in Paterson, N.J. Jo, played by the magnetic Anna Camp ( “True Blood”), has worked for years on a dragons-and-dwarfs saga that seems to be going nowhere. Jones’s play, a comedy-drama that bleeds uncertainly into dark fantasy, deftly satirizes the mania for memoirs that has felled so many trees and fired up so many Kindles. The confession seems radical, even heretical in today’s culture, when a book or three, or several seasons of reality television, could conceivably hang on a recalcitrant hangnail. “I doubt my life is so interesting anyone would want to read about it,” says the heroine of “Verité,” a new play by Nick Jones that opened on Wednesday at Lincoln Center’s Claire Tow Theater.
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