John Guare’s streak of playful absurdism makes even his lesser works enjoyable to watch unfold onstage. That’s the case with his latest, Nantucket Sleigh Ride, whose breezy title—a whaling phrase describing the wild ride a harpooned whale could dangerously take those hunting it down on—winks at its protagonist’s own journey. Edmund “Mundie” Gowery is a successful—read: ruthless—Wall Street trader who authored a single hit play, Internal Structure of Stars, some four decades ago: when we meet him, he’s giddy that he’s become a clue in the New York Times crossword puzzle. (57 Across: 1970s playwright. 6 Letters.) When two zombie-like adults, Poe and Lilac, enter his office, his memories of a long-ago summer flood back and we enter his past; or, at least, how he supposedly remembers it.

Gowery’s summer of ‘75 concerns a home in Nantucket his lawyer talks him into buying with the proceeds from his play: the police call with the news that his tenants are part of a child pornography ring and that he may be implicated since he’s the owner. Dropping everything in New York, he arrives in Nantucket and meets a whole cast of characters: 9-year-old Poe and his 7-year-old sister Lilac; their father, Schuyler; their mother’s (supposed) lover, McPhee; and a Nantucket police officer. The children’s mother and Schyuler’s wife, Elsie, is the catalyst for the entire plot: she staged a production of Mundie’s play and, when she called to let him know that, he nastily denigrated what he considered its amateurishness. Mundie believes that she may have designed an elaborate revenge scheme against him revolving around his shady tenants.

Guare delights in such farcical plotting, which variously includes Magritte, vengeance, adultery, suicide, pedophilia (Roman Polanski is mentioned in a subplot about Mundie’s next possible project) and possible murder; there are even pop-up appearances by the great Argentine writer Jorge Luis Borges and Walt Disney himself (!), as well as references to Jaws, both book and movie, which ruled that summer’s beach reading and box office. How does it all fit together? Guare really never answers that question, but his breathless journey through Mundie’s (and his own?) possible past is often exhilarating, at times reminiscent of the sleight-of-hand that distinguishes his best work, i.e., The House of Blue Leaves, Six Degrees of Separation, A Few Stout Individuals and Landscape of the Body.

A huge assist comes from Jerry Zaks, whose dizzyingly precise direction is always on Guare’s offbeat wavelength, sorting out the strangely compelling story strands and characters and sending them on their merry way. Paul Gallo’s arresting two-tiered set adroitly visualizes the fragmented states of Mundie’s memory, while the estimable supporting cast is led by Will Swenson’s amped-up McPhee, German Jaramillo’s amusingly deadpan Borges, and Clea Alsip and Tina Benko’s hilarious turns as women in Mundie’s messy life.

Standing front and center, John Laroquette plays Mundie with an infectious enthusiasm as he makes every utterance and inflection, however slight, drip with caustic meaning. A peerless guide frantically leading us through Mundie’s mind, Laroquette even gives Guare’s final bit of dialogue about self-recognition a weariness that’s quite touching, an unexpectedly emotional capstone to a bizarre but buoyant trip down memory lane.

Blu-rays of the Week 

(Criterion)

In Jan Němec’s dazzling 1964 debut feature, two young men escape a train heading to a Nazi concentration camp during a tense and seemingly endless night. A mere 67 minutes, Němec’s black-and-white classic is as taut and tight as a drum, and its inventiveness (marrying ultra-realism to surrealism) made it a spectacular addition to the then-burgeoning Czech New Wave.

Criterion’s hi-def transfer is luminous; extras include a 2009 Němec interview, documentary short about the director and his 1960 student thesis film A Loaf of Bread.

Columbus

(Oscilloscope)

In director Kogonada’s feature debut, the town of Columbus, Indiana—filled with architectural treasures designed by the likes of Eero Saarinen—is the star of a subdued but superficial exploration of two characters (a local architectural aficionado and the stranded son of an architectural scholar) who stumble into a connection.

Kogonada smartly lets his two fine actors, Haley Lu Richardson and John Cho, do the heavy lifting, which makes his minimalist aesthetic less enervating that it might otherwise be. There’s a superior hi-def transfer; extras include deleted scenes, actors’ commentary and Kogonada’s short Columbus Story.

Farinelli 

Gérard Corbiau’s 1994 costume drama isn’t much interested in history—it’s mainly fictional—as it tells the incredible-but-only-partly-true story about the celebrated 18th century Italian castrato whose remarkably high, rich voice made him famous and even feted by such an important composer as Handel.

Exquisite-looking, well-acted and impeccably staged, the film is best watched as a juicy, gossipy guilty pleasure with the added cache of a “serious” subject (i.e., opera). There’s an excellent hi-def transfer; extras include a making-of featurette and on-set interviews.

On Her Shoulders 

(Oscilloscope)

Director Alexandria Bombach’s affecting study follows Nadia Murad, a 23-year-old from Iraq forced into sex slavery by ISIS who since her escape has become a tireless activist, speaking about what happened to her and others at the U.N. and around the world.

Bombach’s documentary movingly shows how unexpected celebrity (becoming a U.N. ambassador and, following the filming of this, a Nobel Peace Prize) affects a young woman previously content to live her life in a small Iraqi village and records her inner strength as she takes on the scars, pain and hopes of countless others like her. There’s a crisp hi-def transfer; lone extra is a Bombach interview.

Replicas 

In this sub-Twilight Zone thriller, Keanu Reeves plays a neuroscientist who recklessly breaches the law and medical ethics when he creates clones of his wife and children after they are killed in a car accident.

A promising idea is given a thoroughly and disappointingly routine treatment by director Jeffrey Nachmanoff, despite a few impressive special effects sequences. The film looks fine on Blu; extras are commentary with Nachmanoff and executive producer James Dodson; featurette Imprint Complete: The Making of ‘Replicas’; and deleted scenes.

DVD of the Week

School of Life 

(Distrib US/Icarus)

The circle of life is the subject of this warmhearted drama about a young orphan boy whose arrival at a French country estate causes anger between and rifts among family members—and, eventually, understanding and healing.

Director Nicolas Vanier is not afraid to flirt with soap opera, but the sentiment is earned by a strong cast (Francois Cluzet, Valérie Karsenti, Eric Elmosnino and young Jean Scandel) that’s in top form and a loving visualization of how these people coexist with nature makes for an unusually satisfying two hours.

CD of the Week 

(Quartz)

German composer Paul Hindemith was prolific in genres ranging from operas and ballets to concertos and chamber music, the latter making up this superb recital disc by two Moscow-born musicians, violinist Roman Mints and pianist Alexander Korbin.

Playing Hindemith’s complete works for violin and piano—with the passionate “Kleine sonata” for viola d’amore and piano included as a bonus—the duo handles this expressive, at times knotty music with perfect precision. The four violin sonatas might be the most substantial works, but even 1936’s Trauermusik and 1938’s Meditation from the great Hindemith ballet score Nobilissima Visione throb with feeling and virtuosic technique.

That exclamation point looms large in the title of Oklahoma!, as if the creators of this misbegotten revival are protesting too much: “Trust us—we love this classic musical as much as everyone else does!” But what’s onstage suggests otherwise, as director Daniel Fish’s gimcrack deconstruction substitutes loads of gimmickry for originality. 

For starters, the house lights stay on for much of the performance, except twice when the stage goes completely black and we only hear dialogue spoken through hand-held mikes for maximum aural effect. But the dramatic impact is minimal, because the performers’ droning voices undercut Fish’s intent by making the scenes affectless. Similarly, an important moment is played out in front of cameras recording the actors in close-up, who are projected onto a wall, but the lack of sufficiently varied emoting has an unfortunate effect on the promised edginess.

The down-home vibe starts with picnic tables and folding chairs arrayed around the stage, with audience members seated in some of those chairs. (Crockpots labeled “HOT” sit on the tables, and chili and cornbread are served to audience members at intermission.) But the racks of guns so ostentatiously displayed on the theater’s walls only underscore the obvious point that the wide-open prairies—an example of which is seen in a wall projection—are also dangerous. The director also substitutes a gun for a knife in his botching of the show’s tragic finale when hero Curly’s rival Jud ends up dead.

There are good moments by Ali Stroker in a boisterous, if at times shrill, portrayal of man-chaser Ado Annie, while Will Brill wrings a few laughs out of traveling salesman Ali Hakim. But Mary Testa can’t help but camp it up as a caricature of Aunt Eller, Rebecca Naomi Jones is an unusually sullen heroine Laurey, and Damon Daunno is a pretty charmless Curly whose facility with a guitar is his best attribute. Despite the #sexyoklahoma hashtag on social media, there’s little spark between the pair; that they get together at all is more because they have to than they make a plausible case for it. 

A seven-member band of mandolin, fiddle, cello, accordion, guitars, double bass, and drums plays the classic songs in sometimes refreshingly simple arrangements. But for the most part, Rodgers & Hammerstein’s timeless tunes survive mainly on the audience’s goodwill. Finally, the Dream Ballet—made indelible by Agnes DeMille and here danced with frenzied assurance by Gabrielle Hamilton in John Heginbotham’s muddy new choreography—says less about what Oklahoma! means to us now than it appears to, something which goes for the entire production.