To call this solo-performed effort a one-man show would do a grave injustice to the dizzying cast of characters brought to life, often simultaneously, by New York writer/performer Kurt Fitzpatrick’s uniquely inspired stagecraft.
True, The Last Straight Man is all him, all the time, but it’s the way the various layers of him are presented that makes this a one-of-a-kind many-man sort of show.
Combining film and live performance in a way that places multiple versions of himself before the audience at the same time, Fitzpatrick creates an utterly convincing and crazy-wild ride through a strange night in a very odd neighbourhood.
After sashaying onstage in the guise of an overtired, oversexed black waitress determined to get her man to make the right moves, he quickly transforms into both sides of a seedy-diner seduction, a father scolding his son for drinking milk out of a beer glass and a kid looking for love online.
Fitzpatrick makes it all work, flawlessly, by carrying on conversations with pre-filmed versions of his characters, filling the silent spaces onscreen with live-delivered dialogue that always fits perfectly and never misses its target. It’s as weirdly amusing as it is deeply illuminating.
One man or many, however you choose to label it, it’s brilliant.
— Brad Oswald
From the official Fringe program:
From Venezuelan male prostitutes to brainy teenage girls with big necks, everyone needs love in some form or another in the dead of night. Have a sparkling sweet butter cookie at the Junction Diner. Just don't run into the enormous cat that is running loose.
A new comedy by Kurt Fitzpatrick ("Hooray for Speech Therapy"). Directed by Alison Williams.
Warnings: Subject Matter, Language,
RECOMMENDED: Mature Audience
Venue#3 The Playhouse Studio 180 Market Ave (Entrance on Main St