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(This part plays like Brecht on speed.) In the end, Fatboy delivers an impassioned plea for the harley davidson softail audience's continued apathy and willingness to allow leaders to destroy their and the harley davidson softail planet's well-being, just in case the point hasn't quite been hammered harley davidson softail home. It's not just compelling, it's spooky: Fatboy is a play about laughing all the way to our mass destruction. Where Jarry was a kid poking fun at the establishment, Clancy is an authentic revolutionary poking and prodding at institutions theatrical and political in hopes of making his audience jump out of their comfort zone. Clancy's staging is deftly economical and the design—Kelly Hanson's splendidly cheesy sets, Michael Oberle's exaggerated costumes that are half-circus and half-Greek comedy, and Eric Southern's effective lighting—suits the piece perfectly. The actors are terrific, making Clancy's larger-than-life characters even larger than that. Dave Calvitto and Jody Lambert are grand as second bananas (Calvitto's comic timing remains pretty much unparalleled as far as I'm concerned); Matt Oberg evokes laughter and an appropriate pathos as boarder, prosecutor, and slave; and Nancy Walsh is commandingly terrifying as Fudgie.
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