Tabula rasa

By MEGAN GRUMBLING  |  June 25, 2008

The comic hijinks play out on yet another gorgeous and smartly-conceived Christopher Price set. This one is a cheerily vertiginous funhouse: Fuddy’s players traverse a series of raked quadrilateral platforms of various heights and slopes, often spotted in bright pop-art hues of lilac, magenta, and neon yellow (the great lighting is by Jeff Provencher). The platforms don’t quite meet at their junctures, so actors frequently get caught avowing this or that from stances that straddle literal — as well as figurative — cracks in the foundation. Behind Gertie’s minimalist kitchen, upstage, there reels a picket fence gone gleefully Expressionist. And for the car-ride scenes (which are treated to delicious sound design by Greg Copeland) Price provides seats and a steering wheel, which are bolted to a set piece that slides down a raked platform and locks into place with a satisfying click.

The ride Fuddy Meers takes us on is absurdist, willfully profane, and satisfied with simple screwball entertainment as its raison d’être. And although, at times, an excess of “fucking” this and “fucking” that comes off as a comic crutch (as do, after a while, the verbal gimmicks) the unsubtle Fuddy is unquestionably entertaining. Between its gibberish, its blithe obscenity, and its brazen plot twists, City Theater’s Fuddy Meers abducts us somewhere zanily memorable.

Megan Grumbling can be reached

< prev  1  |  2  | 
Related: The circle game, Comic thunder, Life and death, More more >
  Topics: Theater , Christopher Price, Guy Pearce, David Lindsay-Abaire,  More more >
| More

Most Popular
Share this entry with Delicious
  •   WHEREFORE ART THOU?  |  August 14, 2014
    Monmouth's R&J and the quest for passion
  •   THE DREAM LIVES ON  |  July 31, 2014
    The Deertrees experience is not just theater shows, and not just its program of concerts. Deertrees is also a certain ethos of small-town summertime in Maine.
  •   STEEL POPPIES  |  July 18, 2014
    Linda Sturdivant directs a spirited and attractively appointed production of the musical The Full Monty , the Americanized version of the 1997 British film, at the historic City Theater, in Biddeford.
  •   THE MOST BRUTAL SPORT  |  July 11, 2014
    Ballet is not for pussies.
  •   DISTILLED PORTRAIT  |  July 10, 2014
    The greatest love of the show’s title—for both Chamberlain and its audience—remains the war itself.

 See all articles by: MEGAN GRUMBLING