IAAM Productions and Aching Dogs Theater



Written and Directed by DON CREEDON

Producer’s Club Grand Theater 358 W. 44th Street, NYC

May 5 - 16, 2010


Managing & Promotions Director PAMELA SCOTT

Production Stage Manager DERMOT KENNY

Lighting Design SHAUN SUCHAN

Lighting/Sound Operator ROSEMARIE DE SAPIO

Costume Design BROOKE COHEN




Joe – Walter Michael De Forest

Sam, Sal, Shea, Steve – Bill Rutkowski

Decco, Dommo, Dodo, Dessie – Wayne Stills

Foreground: Walter DeForest Background left to right: Bill Rutkowski and Wayne Stills

Don Creedon’s GUY WALKS INTO A BAR is an hour-or-so-long four-scene play that follows a central character, Joe, as he ventures into 4 different bars in New York City. These outings are “recently” per the playbill, and seemingly spotlight different points within a few years after the dissolution of Joe’s marriage.

The gimmick, or recurring theme, is that Joe happens into a bar, his mind set on meeting a woman or women, and instead interacts with two men who talk circles around him and one way or another impact his strategy of the moment. What is not clear is the timeline here. At first it seems to be linear starting with Joe’s trial separation and quickly moving to him already being divorced, but by the fourth barhop, that is not so certain. There are other peculiarities, like the notion that Joe would not recognize the husband of a woman he has been having an affair with since meeting her on her wedding day five years earlier, and following the couple to their honeymoon destination. Just separated, a five year affair, just how long is it between these “recent” trips to local watering holes?

Gaps aside, GUY WALKS INTO A BAR is pretty standard fare of the modern quest for love, despite incessant complaints about women, and the unending supply of bad advice offered by imbibing strangers. Joe tries blind/internet dating, speed dating, affairs and Ladies Night, but only when he tries to be himself does he seem to have a chance at a happy future.

The action fairly smoothly transitions from one location to another (the set does not change, only the costumes and names do), and the onstage trio manage to eke out a few laughs. Mostly though, there is a sense of Joe’s desperation, and that there is no simple solution in sight.

- Kessa De Santis -

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