He spent time teaching at what is now the University of Louisiana at Lafayette and also at Hunter College in New York, while he worked on a Ph. John Kennedy Toole (1937-1969), a native of New Orleans, graduate of Tulane with a Master's from Columbia. Gonzales and the swishy Dorian Greene (both played by Arnie Burton).Īt the Night of Joy Bar - one of the central settings of the book - sit the cynical sweeper Burma Jones (Phillip James Brannon, who has to cope with some awkward racial material) Darlene (Talene Monahon), who aspires to stripper stardom with her cockatoo and dominatrix bar owner and porn supplier Lana Lee (Stephanie DiMaggio, who also plays Ignatius’s old liberal college chum, Myrna Minkoff, with radical affection).The novel's backstory is rather famous.
Riley with his Southern Comfort charms the inept Patrolman Mancusco (Paul Melendy) on pervert patrol the beleaguered Mr. Harris and pianist Wayne Barker add musical notes for the countless transitions.Īt the heart of the rambling tale is the relationship between Ignatius, a fastidious, hygienically-challenged, imperious outsider, and his doting, exasperated, muscatel-loving mother (Anita Gillette, wonderful at being looney, warm and conflicted.) Circling, converging and ultimately piling up on stage are the denizens of NOLA: Claude Robichaux (Ed Peed, splendid), an elderly gentleman who courts Mrs. Then the world of New Orleans in the 1960s emerges - a world in cultural, social and political flux on Riccardo Hernandez’ minimalist screen-centric set, with atmospheric touches provided by Sven Ortel’s projections. Cast members then slide him into the fat suit, adding items of clothing to create Ignatius’ iconic look: giant tweed pants, unlaced boots, plaid flannel shirt, suspenders, muffler, and Ignatius’ signature hunter’s cap with the flaps down. Indeed, the play begins with a bare stage, as Offerman simply appears as himself, wearing nothing but a big bushy moustache and his underwear. But more work still needs to be done to keep new audiences beguiled by the adventures of this proud and mammoth misfit, trapped by the extravagance of his own imagination.ĭirector David Esbjornson keeps the traffic of the show’s many characters and plot lines as smooth as possible with a stripped-down, self-aware and transformational approach. Playwright Jeffrey Hatcher has already done an impressive job of editing and shaping the story for the stage, retaining its essence as well as some of its dandiest dialogue.
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