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Under Tiberghien’s direction, the play begins in high energy and high dudgeon, with most of the characters racing around the stage — a square set atop another square — and speaking couplets speedily, long before the audience has any understanding of what’s what and who’s who.

The shattering climax of “Three Minutes: A Lengthening” is a slow zoom into Nasielsk’s public square, set to the testimony of witnesses to the deportation of 1,600 Jews in December 1939.

“Paradise Square,” set amid the New York City draft riots of 1863, and “Suffs,” the story of the women’s suffrage movement that led to the passage of the 19th Amendment, pan for theater gold in exposition-heavy musicalizing.

Dieter was too kind to address the big, camera-obscuring elephant in the room: how for several minutes, instead of my face, he’d see a giant reversed Sony Imaging Edge webcam logo — a huge white W on an orange square set against a not-quite-black background.

The fate of Art Fair on the Square, set for July 11-12 and which draws 200,000 people and 500 artists, will be decided by mid-May.