Here's an example of a production that gives as much to the play as vice-versa. In its English adaptation, Trois Versions de la Vie is called "Life x 3," but the original is more like "1 + 1/2 + 1/2." Not only is the first "version" the longest; it sets up the scene (home of astrophysicist Henri and wife Sonia) and basic situation: Hubert, a colleague influential in first-rank scientific publishing, and his wife Ines arrive for an invited supper a day early. At first, Henri and Sonia seem a typical middle class couple in a mild argument about how to deal with their toddler crying from his bedroom: Should Henri bring him an apple? Should Sonia, in a robe on the sofa, give up her magazine and read the child a story? Anger erupts, while on the street outside Ines uses a run in her hose as argument against visiting new people. But Hubert's not about to pass up a chance to be catered to by a fellow scientist who hasn't published in three years and needs him. So soon they're all together with snacks and drinks, Sonia dressed and Ines talking about dental hygiene.
Then a bomb drops: Someone has just published a paper on "The Flatness of Galaxy Halos" -- Henri's research subject! Is he jinxed or what? And Hubert's response? Isn't he maddening? How does Sonia, who gave up her career, feel about the news and Hubert's stance? Are Ines' questions about the research stupid, or is she right to insist her concerns and opinions be heard? What is shown by their various responses to the cries of the child? Just how bad have the interpersonal relations between and among the couples become? The four characters return to the situation two more times, to play our the scenario in different ways. Varying points of view emerge -- but whose? Henri and Sonia sit at first more centrally and lovey-dovey in number 2, but when she's alone with Hubert, their affair is revealed. Ines gets progressively drunker and comes on to Henri. In number 3, Sonia and Ines hit it off better, and so eventually do the men, with Henri stronger and Hubert less pessimistic. It's interesting to see who's left alone at final curtain.
Stylistically sharper than intellectually or emotionally deep, Trois Versions needs keen acting. It gets this in full measure from the handsome, articulate Richard Berry as Henri. (He obviously hasn't wasted his vocal training at the House of Moliere.) Sonia never deviates from being a puzzle in Catherine Frot's interpretation, whereas Stephane Freiss is a definitive egotist playing Hubert. Yasmina Reza makes Ines sympathetic and looks great in floral-splashed but elegantly tailored outfit. As author as well, she must know all eyes are on her, but she never seems self-conscious nor upstages her fellow actors, who couldn't fit their parts better had she written these for them in a class. (The play reminds a little of an academic assignment or result of improvisational exercises.) Part of the cast's achievement is that one can't absolutely characterize any of them in a sum-up of their different versions.
Still, uncertainties about the characters' nature extend to the meanings and point of the play. Or perhaps uncertainty is the point. One thing is sure: The production boasts memorable lighting and abstract design of a living room with no-door exits backed by primary colors. On all looks down a brilliant full moon in big slit of sky full (like the play) of stars, bright but not twinkling.
