I did truly admire the second act—the one so many people resented. It was about Art’s obsessive romance with Marilyn Monroe. He had denied, foolishly, that the story of that relationship in the play was based on his personal history, denied that his character, Maggie, was based on Marilyn. But he put into the mouth of Maggie precisely what Marilyn had thought of him, and particularly her scorn for him at the end of their marriage. This character is true and has an interesting dramatic development from adoration to contempt. Art is rough on himself, giving us all that Marilyn said in her disappointment and resentment. The play’s summation—summations are by definition boring—is insufferably self-favoring and “noble.” Audiences should be able to make up their own minds what the events shown have meant, but Art knew what he wanted the audience to think, and he told them.