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The Brick Theater, Inc. presents a Gemini CollisionWorks production of
The Hobo Got Too High
written by Marc Spitz
designed and directed by Ian W. Hill
Saturday, August 4, 11, and 18
and Friday, August 10 and 17
at 10.30 pm
Friday, August 24 and Saturday, August 25
at 8.00 pm
matinee: Saturday, August 25 at 4.00 pm
Bug Blowmonkey loves music. Bug Blowmonkey loves a woman. Bug Blowmonkey loves cocaine. Two of these things are good for him, but the other one is messing him up. Bad. Wanna take a guess which one? Bug knows the blow is taking him down a dark path, but can’t quit it on his own. Luckily, he has a spirit guide to help him out of his hole, and towards the “light” he seeks: Marvin Gaye. Granted, Marvin is also a drug-addled paranoiac (and dead for 20 years), but beggars can’t be choosers when it comes to spirit guides, it seems. Will Bug, with the help of Marvin Gaye and a stuffed buffalo in The Museum of Natural History, be able to overcome his addiction and fight the haunting, taunting spirit of the girlfriend he lost to win the heart of a new woman in his life, who may be able to save him from himself? Will he find his “light?” Will he figure out why every person he sleeps with has a tail? Will this whole story be told in a fast, jumpy, non-linear style, full of hysterical one-liners and astonishing situations?
At least three of these questions will be answered in a viewing of Marc Spitz’s play, The Hobo Got Too High, which now reappears in Ian W. Hill’s restaging of pretty much his original production from 2000 with pretty much the original cast. It got so little attention then, it might as well be a premiere now, and Gemini CollisionWorks is bringing it back with the hope of having a few more people falling out of their chairs, laughing, than they did the first time (and that actually was no small amount then).
Spitz – often described, probably to the point of his being tired of it, as “a downtown Oscar Wilde” – is known for his distanced, ironic, comic sensibility in his plays. Hill – often described, with deep inaccuracy, as a “protégé” of Richard Foreman – is known for a stylized, abstracted, presentational directorial style. What do these two share? A deep love and understanding of rock and roll music, and a hidden romantic, sentimental side. Put them together in this play, and you get a production that feels like a great eclectic mix tape, moving from the lugubrious sadness of Leonard Cohen to the jumpiness of The Velvet Underground to the wistfulness of Michael Nesmith to the pure pop of The Lightning Seeds to the deep soul of Marvin Gaye.
The Hobo Got Too High is an hour of sex, drugs, rock and roll, romance, nonsequiturs, vast numbers of curse words, retractable penises, and an appraisal of Diane Lane’s breasts. All for a sawbuck. You may not see better value for your theatrical dollar anytime soon.
The Hobo Got Too High is performed by Rasheed Hinds, Ian W. Hill, Roger Nasser, and Jessica Savage.
60 minutes – no intermission
The Hobo Got Too High
written by Marc Spitz
designed and directed by Ian W. Hill
Saturday, August 4, 11, and 18
and Friday, August 10 and 17
at 10.30 pm
Friday, August 24 and Saturday, August 25
at 8.00 pm
matinee: Saturday, August 25 at 4.00 pm
Bug Blowmonkey loves music. Bug Blowmonkey loves a woman. Bug Blowmonkey loves cocaine. Two of these things are good for him, but the other one is messing him up. Bad. Wanna take a guess which one? Bug knows the blow is taking him down a dark path, but can’t quit it on his own. Luckily, he has a spirit guide to help him out of his hole, and towards the “light” he seeks: Marvin Gaye. Granted, Marvin is also a drug-addled paranoiac (and dead for 20 years), but beggars can’t be choosers when it comes to spirit guides, it seems. Will Bug, with the help of Marvin Gaye and a stuffed buffalo in The Museum of Natural History, be able to overcome his addiction and fight the haunting, taunting spirit of the girlfriend he lost to win the heart of a new woman in his life, who may be able to save him from himself? Will he find his “light?” Will he figure out why every person he sleeps with has a tail? Will this whole story be told in a fast, jumpy, non-linear style, full of hysterical one-liners and astonishing situations?
At least three of these questions will be answered in a viewing of Marc Spitz’s play, The Hobo Got Too High, which now reappears in Ian W. Hill’s restaging of pretty much his original production from 2000 with pretty much the original cast. It got so little attention then, it might as well be a premiere now, and Gemini CollisionWorks is bringing it back with the hope of having a few more people falling out of their chairs, laughing, than they did the first time (and that actually was no small amount then).
Spitz – often described, probably to the point of his being tired of it, as “a downtown Oscar Wilde” – is known for his distanced, ironic, comic sensibility in his plays. Hill – often described, with deep inaccuracy, as a “protégé” of Richard Foreman – is known for a stylized, abstracted, presentational directorial style. What do these two share? A deep love and understanding of rock and roll music, and a hidden romantic, sentimental side. Put them together in this play, and you get a production that feels like a great eclectic mix tape, moving from the lugubrious sadness of Leonard Cohen to the jumpiness of The Velvet Underground to the wistfulness of Michael Nesmith to the pure pop of The Lightning Seeds to the deep soul of Marvin Gaye.
The Hobo Got Too High is an hour of sex, drugs, rock and roll, romance, nonsequiturs, vast numbers of curse words, retractable penises, and an appraisal of Diane Lane’s breasts. All for a sawbuck. You may not see better value for your theatrical dollar anytime soon.
The Hobo Got Too High is performed by Rasheed Hinds, Ian W. Hill, Roger Nasser, and Jessica Savage.
60 minutes – no intermission
