First, Arthur Miller wrote AFTER THE FALL, which dealt with an actress much like Miller's wife Marilyn Monroe. Now, he has written FINISHING THE PICTURE, currently in its premiere at the Goodman Theatre, in a pre-Broadway run, and, again, we have a Marilyn like figure as the subject of this dramedy. Let's hope this isn't part II of a trilogy.

Really, Marilyn, or as this play call her, Kitty, is central to the story, but she is hardly in it. I take that back. She is in every moment of Act II, but as a mostly semi-conscious mess, unable to say a single word, and only occasionally kicking off the sheet to reveal her naked body. While this must have made it easy to memorize all of her lines, Heather Prete, who may be a fine actress in other circumstances, moans and screams convincingly here. I just kept wondering what her parents must have told her after seeing the show.

"Convincing hysteria, darling."

"Your arm reached up from the bed at one moment, and I was moved."

The rest of the cast fares better, much of the credit going to the fact that they actually have lines. And, quite a cast it is. Stacy Keach is fine as the businessman called in to the set of Kitty's latest movie, sent to determine whether production should close down because of her behavior. Frances Fisher is Kitty's assistant, and, as of last night, Keach's paramour. Also on hand, is Scott Glenn, a straightforward cameraman who has been with Kitty from the beginning. His line readings catch you off guard, and provide many of the evening's laughs. As always, Linda Lavin brings a confidant lair to her drama coach, a conniving, status grabbing irritant, who nevertheless is welcome every time she comes on stage. Her husband is played by Stephen Lang, memorable in films like LAST EXIT TO BROOKLYN, almost unrecognizable here, as a Lee Strassberg like acting coach, and clearly Arthur Miller hated the guy. In fact, the only figure who is ill-defined, is the writer of the movie, a stand in for Miller.

Even at the age of 89, Miller apparently can not look at himself in the same unforgiving light in which he casts so many of the other characters. Matthew Modine is given the unenviable task of trying to inhabit this stymied man, unallowed to let out his emotions, and, really, hardly given any to hold in.

Miller is given to flowery passages of dialogue, awkward in the mouths of these characters, who are presented as everyday figures most of the time.

While much of the banter is funny, watching this play is pleasant and undemanding in the first act, but calling an Arthur Miller play undemanding and pleasant, is faint praise. Does he author of DEATH OF A SALESMAN and THE CRUCIBLE really want to be writing sitcoms?

Apparently not, as Act II becomes a lengthy procession of characters visiting Kitty, who writhes occasionally in bed. The only thing comic going on, is the excuse to have characters enter and exit the bedroom, which is busier than a subway stop. A scrim hangs over the proceedings, playing live video feedback of an almost Kitty point of view, which gives close ups to those of us up in the cheap seats, I guess.

Director Robert Falls, who has brought Miller classics to the stage with much acclaim, has time to work with the esteemed playwright, before a fall opening in New York, but how much can really be altered? Is there a way to bring some of the characters forward? They begin at point A, and they end at point A. They talk about shutting down for a week, and finally they do. That's it. The other changes are fairly incidental, and the allegorical raging wildfire outside of the set feels forced and artificial.

What should they keep? The production design by John Boesche is handsome and spacious, and the acting is top notch. The night I saw FINISHING THE PICTURE, the audience applauded like crazy, and, of course, rose to their feet. I think they were really applauding the past achievements of all involved, and wishing with their clapping hands that they could bring this Tinkerbell back to life.