Based on a Totally True Story

What’s truly brave about Roberto Aguirre-Sacasa’s Based on a Totally True Story, which is being given an exemplary production at Manhattan Theatre Club’s Stage II, is not that the playwright has mined his own life for this delightful and touching work. After all, what great (and not-so-great) playwright hasn’t done that? No, it’s that he’s chosen to tackle two very familiar subjects: The seduction of a young writer by Hollywood and the struggle of a young couple to forge a relationship in the face of competing careers, unrealistic expectations, etc. Fortunately, the playwright has done so with such freshness, humor, and honesty that you often forget you’re traveling a road frequently taken.

Aguirre-Sacasa’s somewhat autobiographical protagonist is Ethan Keene (Carson Elrod), a well-paid Manhattan writer for the comic book The Flash who yearns for success as a dramatist. His latest play, about a mysterious sea creature that destroys a family, is considered such a downer that not even regional theaters will produce it. Still, it attracts the attention of Mary Ellen (Kristine Nielsen), a veteran Hollywood producer who sees cinematic potential in the work — provided, of course, that Ethan agrees to an ever-growing list of suggested changes and compromises.

As if juggling what turns out to be two full-time jobs isn’t enough for the twentysomething Ethan to handle, he is trying to cement a relationship with Michael (Pedro Pascal) a Village Voice critic and aspiring novelist who grows increasingly frustrated with Ethan’s lack of attention. Just to complicate things even further, Ethan’s dad (Michael Tucker) has let him in on a big family secret: He wants to leave his wife for another woman. That Ethan doesn’t end up in the loony bin is a bit of a miracle; but he does make several bad choices, both professionally and personally, culminating in a wham-bam moment with a hunky actor (Erik Heger) whom he meets in L.A.

The show’s greatest strength is that Ethan and Michael’s relationship, from their meeting cute in a Chelsea coffee shop through the bitter fights that threaten their happiness, seems utterly realistic whether you happen to be straight or gay. Conversely, many of the script’s references will only resonate with people who live in New York or Los Angeles. (Raise your hand if spotting John Cameron Mitchell in Doma means something.) And, as is the case with the recently opened Show People and the Broadway-bound The Little Dog Laughed, audience members with an intimate knowledge of show business will get an extra guffaw or two from the goings-on, while others may be a bit mystified.

The action of the play occurs over the course of a year. In appropriately cinematic fashion, it is occasionally fast-forwarded by Ethan or one of the other characters, who sometimes act as co-narrators. This device is a bit of a cheat, but it’s handled so well — as is everything under the splendid direction of Michael Bush — that it’s easy to overlook such shortcomings. Even the minimal black-and-white set by Anna Louizos seems more substantial than it really is, consisting of one cleverly designed table, a few chairs, and two panels of monitors that do little more than flash colors. (Major kudos as well to sound designer Ryan Rumery for his invaluable contributions.)

Based on a Totally True Story wouldn’t work half as well without the efforts of its flawless ensemble cast, led by Elrod in what should be considered a breakout performance. He is alternately hilarious, adorable, and maddening as the often self-destructive Ethan, effortlessly charting the character’s transition from an overeager, puppyish kid to a more mature, sadder-but-wiser adult. Tucker, best known for role of Stuart on L.A. Law, is beautifully understated as the Everyman father and sports a perfect Philadelphia accent. Heger proves that he has much more to offer than a pretty face and a hot bod in a variety of roles, including Tyler, Ethan’s frat-boy-like editor, a surly Apple store clerk, and the aforementioned L.A. actor. Pascal, unrecognizable from his recent appearance on the very same stage in Beauty of the Father, is suitably charming as Michael.

As for Nielsen, I think I used up my share of superlatives for her work earlier this season when reviewing Miss Witherspoon, so I’ll just use one here: brilliant! This actress takes what could be a stock character — one that’s quite similar to the agent played by Julie White in The Little Dog Laughed — and makes her a completely original creation (with a major assist by costume designer Linda Cho). She also brings a remarkable physicality to Mary Ellen. Like Aguirre-Sacasa, Nielsen has a rare gift, and we should be extremely grateful to be handed two such presents in the same show.