By John Farrell
The Fix boasts a first-rate cast of singing actors, an on-stage band that can almost make you believe in the show’s less-than-electrifying rock score, and a production that is professional and creative.
By John Farrell
The Fix boasts a first-rate cast of singing actors, an on-stage band that can almost make you believe in the show’s less-than-electrifying rock score, and a production that is professional and creative.
By John Farrell
Night Mother is the moving story of two people, an aging mother and her epileptic daughter, locked in the final night of their relationship. It’s been told before, notably in a film, but you will hardly see a better version than at Little Fish Theatre the nest two weeks: moving, articulate and with two actresses who bring to their performances an intensity, an honesty, you won’t forget for a long time.
By John Farrell
Goose and Tomtom is so many plays at once that any description, any attempt to tell you what it is all about, simply fails. Yes, it is about two hapless gun-crazy would-be robbers who can’t figure out where their loot went. It’s also about the dreams they keep having, (one seriously believes he was a frog – who knows,) about sex (though not drugs,) about the beauty of a sunrise. It’s nearly as filled with existential angst as Waiting for Godot (youtube/b542GxhzYiw). which it resembles at first, before the Princess is found tied-up hanging in the closet. And, oh yeah, don’t forget the aliens.
By John Farrell
Armand Gatti is a prolific French playwright and filmmaker who is little known outside France, partially because his films have never been available on video, partly because his plays have rarely been seen outside France.
By John Farrell
Panache, the play that opened at Little Fish Theatre last Friday, is supposed to be all about a license plate. Holly Baker-Kreiswirth plays Kathleen Trafalgar, a socialite with a fake accent and the wherewithal to find out who has the plate she wants, “PANACHE.” (She got “PANCAKE” instead.) Bill Wolski (in real life her husband) is Harry Baldwin, the card-playing failed artist and fry-cook who has it.
But Kathleen has no idea how to bargain (she can’t remember to increase her bids) and Harry intends to keep the plate for a very personal reason: because his late wife said he had “panache.” She keeps coming back, though, and slowly learns about Harry’s life, his dead ex-wife, and in the process she reveals that her marriage is coming apart as well.