Fringe review: ‘The Last Straight Man in Theatre’

The Last Straight Man in Theatre, Too Much Free Time Productions, Brooklyn, NY. Brown venue, 60 minutes, $10.

By Elizabeth Maupin
Elizabeth Maupin on Theater

Kurt Fitzpatrick

Who needs a supporting cast when you have a video camera?

Kurt Fitzpatrick proves that one man can populate a stage with just a screen, a chair and a video camera in The Last Straight Man in Theatre, a show that has nothing whatsoever to do with its title but is diverting nonetheless.

Fitzpatrick, who has been here before in Rebel Without a Niche (2007) and Hooray for Speech Therapy (2009), has built a show around interacting with himself on video. On screen he’s a pompous, tux-wearing guy named Claude; in real life he’s playing a woman named Miss Marie, who’s trying to lick Claude’s ear. Then he’s a teenage boy engaged in an internet chat with a teenage girl, whose photo on the screen is a coy Fitzpatrick in pigtails.

Last Straight Man doesn’t really go anywhere, and Fitzpatrick’s accents and dialects are better than his physical characterizations. (When he plays a woman at the start of the show, I thought it was — what else? — a gay man.) But the weirdness of this production keeps you going — the people speaking backwards, the ominous cats. If the cats could only operate the video camera, Last Straight Man would have it made.

Remaining shows:
Wednesday May 25, 7:25 p.m.
Thursday May 26, 10:30 p.m.
Saturday May 28, 1:10 p.m.
Sunday May 29, 7:35 p.m.

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