The truth is that Vonnegut's tale is dealing with some mighty sober subjects -- the marginalization of the impoverished, the narrow concerns of the corporate class, the dismissal as surely demented of those concerned with the less well-off.
Michael Mayer's updating Giuseppe Verdi's Rigoletto in a more or less contemporary Las Vegas setting of Christine Jones's devising lends the histrionic drama an alluring air of 21st-century off-handedness.
Actors Silverman and Dellapina, who plays guitar and sings nicely along the way, perform well together, and Westrate has some effective stretches. If on arrival he were to play Nate as less immediately psychotic, Ziegler's script might have a more insinuating dramatic arc.
A gay film from Israel presents a hair-raising depiction of the obstacles faced by two gay men who quickly fall in love despite the fact that they are surrounded by the kind of tribal hatred as old as the feud between the Capulets and the Montagues.
Often heartbreaking, Armstrong and director Michael Mayer approached this unlikely collaboration with an honesty so extensive, it's impossible not to root for their success, for no other reason than because it is so inspiring.