Being able to constantly watch Fielding’s reactions — rather than having occasional cuts to Wally in the film — also adds comedy and depth. Fielding uses body language, furrowed brows, and trying-to-be-patient expressions to indicate his skepticism and attempts to understand, sometimes pushing into a “What the heck are you talking about?” stare that gets laughs.

Fielding’s take on the less verbal, more philosophical Wally is completely believable. His ability to create a new character without sacrificing everything that made the film’s many fans love Wally deserves an extra scoop of dessert. And Robin Bloodworth’s mostly silent role as The Waiter contributes greatly to the sense that you’re eavesdropping on a real conversation. His very subtle disdain for Wally is proof that there are no small parts.

It’s daring of course to be the first one to do anything; adapting a movie—that already has cult status—for the stage is super-daring, with the inevitable comparisons it invites; but Harbor Stage owns this story. Kropf captures the essence of a kind of artist who stays on the highwire not because he’s afraid of falling but because it’s the only place he can find meaning; Fielding is the artist who wants his work to fit into the overall picture of a life where process is more important than success. And both Kropf and Fielding absolutely shine.

The performance is riveting. My companion took her “assist the reviewer” job seriously and watched the cult 1981 movie by the same name.