THEATER
Crazy Like a Fop
WHEN SIMON GRAY'S MELON OPENED IN London in 1987, it dealt memorably if imperfectly with the random, amoral way that glittering success and crippling insanity are doled out, sometimes to the same person. In compulsive revisions, the most recent of which, THE HOLY TERROR, opened last week off Broadway, the normally astute Gray (Butley, The Common Pursuit) has flung out the baby and preserved the bath water. Two ideas worked in the tale of a foppish, philandering publisher: narrating his decline in flashback, from the vantage of a man afflicted and now somewhat healed, which earned...
To continue reading:
or
Log-In
