The first act of “Our Town” takes place in Grover’s Corners on May 7, 1901. Nothing much happens in the fictional New Hampshire village that day, except that two local teenagers, George Gibbs and Emily Webb, fall in love completely unaware that they do so under the shadow of the granitic pillars of time.

But we are aware. Even in an act entitled Daily Life, the playwright, Thornton Wilder, quietly batters us with the news that we are mortal. Immediately upon introducing George’s parents, he has his mouthpiece, the Stage Manager, convey as if it were part of their names a detail of their deaths: Doc Gibbs’s in 1930, his wife’s on a visit to Canton, Ohio. He blithely jumbles together, like their bones, the joining and splintering of human lives. “Most everybody in the world climbs into their graves married,” he comments without comment.

So if you think of the play as small, sweet or old-fashioned, and Grover’s Corners as a twin town to Bedford Falls or Hooterville, I respectfully offer that you have the soul of a rock. In any good enough production, “Our Town” is titanic: beyond time and brutal.

The revival that opened Thursday at the Ethel Barrymore Theater, the fifth on Broadway since the play’s 1938 debut, is more than good enough. To use this word in the only positive sense I can imagine, it’s unbearable: in its beauty, yes, but more so in its refusal to offer beauty as a cure when it is only, at best, a comfort.

Laura Donnelly’s New Character: The star of Jez Butterworth’s “The Hills of California” is no delicate flower, but she admits that a major rewrite of the script had her in tears.

Beginning With a Boom: “Grounded,” the new work that opened the Metropolitan Opera’s season, has been joined by revivals of three Puccini, Verdi and Offenbach classics.

Disoriented in America: The political Off Broadway plays “Fatherland” and “Blood of the Lamb” explore the grief, anger and fear of no longer recognizing the country you love.

And though some of the effectiveness of the revival is clearly the result of Kenny Leon’s swift and unsentimental direction, and of a fine cast led by the mercilessly acute Jim Parsons as the Stage Manager, we must begin with wonder and admiration for the play itself. In its portrait of “the life of a village against the life of the stars,” as Wilder described it, the monumental is always expressed in the miniature, and the miniature is always crushed by the monument.

We are having trouble retrieving the article content.

Please enable JavaScript in your browser settings.

Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.

Thank you for your patience while we verify access.

Already a subscriber? Log in.

Want all of The Times? Subscribe.jpwinner gaming

• jpwinner gaming
• an
• Town
• Our
• Review