What I liked
There is something joyous about attending a performance where you can tell everyone involved in the production had or is having the time of their lives. It is abundantly clear that Fisher relished coming up with this sharp piece of theatre—as well he should have; the script is crisp and sharp and witty with a hard edge that keeps you on your toes. Lines are delivered a mile a minute and every piece of dialogue means something—make sure you’re paying attention as characters move through barroom jokes, philosophical wonderings, bitter diatribes, secret confessions, and harsh revelations all at a breakneck pace with heart and humor and Fisher edge.
And what a cast to deliver it! Schoen Hodges leads the pack in a multi-performance that becomes more impressive the longer he’s on stage. It’s an interesting trick that I won’t give away here, but to see Hodges’ mannerisms change down to every beat and tick as needed was incredibly satisfying as an audience member.
Eric Curtis Johnson brings laughs and a relaxed honesty; always reliable and on-her-game Alli Miller manages to keep some relatively “out-there” proceedings reassuringly grounded; Heather Schmidt is a wonder—keep an eye out for her somehow earnest, heartbreaking, disturbing, and hilarious all at the same time confessional scene with Hodges; and Fisher himself turns up in an on-the-edge performance that will keep you guessing. A solid crew all around.
Staging in a limited space can be tricky, but this group more than handles all that’s needed and every new scene and/or setting feels fresh in a minimalistic way that is perfect for Fringe. Scene changes were quick and efficient and the touches added by choreographer Brin Hamblin (of Cherry Poppins) keep things flowing smoothly. The flourish of certain items and information being drawn on the walls is of specific interest and utilized very well.
All in all, a solid production and well worth being near the top of your “must-sees” for this year’s festival.
What I didn't like
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My overall impression
Michael Shaw Fisher does it again with a Lynchian tale that reels you in with sharp writing, stellar performances, and crafty staging.
