![]() ![]() Forty-two years after her death at 36, and 43 years after her five-year marriage to Miller ended in divorce, the myth of Marilyn remains an endlessly fascinating subject in American culture. The reason for all this ado is simple: the play is Arthur Miller writing about Marilyn Monroe. Business at the box office, meanwhile, is brisk, and many of those who have seen the play feel compelled to talk about it, to rehash and review it on their own. Neither a disaster nor a triumph, the production, which opened earlier this month, has been greeted with wildly mixed reviews from local and national critics, their assessments ranging from flat-out raves to unvarnished pans. In its first run here at the Goodman Theatre of Chicago, it is stirring up more speculation, gossip and rampant curiosity than any Miller play has received in years. I n his 60 years as a playwright, Arthur Miller surely has written better plays than Finishing the Picture but in one special area, this new, second-rank work by the author of such prime American dramas as Death of a Salesman, The Price and The Crucible undoubtedly holds absolute sway. ![]()
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