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.

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.