Join StageAgent today and unlock amazing theatre resources and opportunities. Research Playwrights, Librettists, Composers and Lyricists. Browse Theatre Writers. A sinister and zany comedic romp with a dark domestic drama at its heart, Fuddy Meers illustrates a world in which nothing is as it seems, hardly anyone can be understood, and trusting the wrong person can get you locked in the basement with a foul-mouthed sock puppet, hit over the head with a frying pan, or hauled over the Canadian border.
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It tells the story of an amnesiac , Claire, who awakens each morning as a blank slate on which her husband and teenage son must imprint the facts of her life. One morning Claire is abducted by a limping, lisping man who claims her husband wants to kill her. The audience views the ensuing mayhem through the kaleidoscope of Claire's world. The play culminates in a cacophony of revelations, proving that everything is not what it appears to be. The play premiered Off-Broadway at the Manhattan Theatre Club , running from November 2, to January 2,  and transferred to the Minetta Lane Theatre on January 27, , closing in April after 16 previews and 78 performances there.
Kenny and Nicholas Le Prevost. The play's title "Fuddy Meers" is Gertie's who has had a stroke attempt to pronounce the phrase "funny mirrors". Claire awakens one morning to discover that she is married to a hospital worker named Richard and has a son, Kenny, who has an attitude problem. She learns she has a "psychogenic" form of amnesia, and Richard gives her a book he prepared about her life after re-explaining everything so many times.
Everything is as it seems until Zach, or "Limping Man" as he is referred to in the script, appears from under the bed. He claims he is there to rescue Claire and that Richard wants to kill her. Zach, who 'reveals' he is Claire's brother, takes her to their mother Gertie's house. Gertie is not fond of Zach but cannot say why because of her aphasia.
While there, Claire meets Millet, a kind man with an apparent mental disability and a bad-mouthed puppet. It is revealed that Millet and Zach have escaped from prison, although why they were brought to prison remains a mystery. Meanwhile, Richard takes Kenny to search for Claire. He is pulled over by Heidi and takes her gun, bringing her with him and Kenny as they travel to Gertie's house. But in the meantime Millet — through his puppet — has told Claire about how her husband used to beat her, and she wants nothing to do with Richard.
She has also found out that the real Zach, her brother, is dead. As Richard, Kenny and Heidi are entering the house, Claire does not know whom to trust. Gertie takes advantage of the opportunity and stabs Limping Man. In the ensuing chaos, Kenny is shot in the arm with Heidi's gun and a flurry of revelations come forth.
Limping Man is in fact Phil, Claire's abusive ex-husband, while Richard is her new husband. Richard has a criminal past and had framed Millet for stealing an expensive ring. Heidi meanwhile turns out to be a prison cook who met Phil during his time in prison. Claire's world as well as that of the audience becomes increasingly clear with each new revelation as she regains more and more of her memory and realizes she is responsible for Limping Man's deformities.
Ultimately, Limping Man's plans are foiled by his love for Claire. We find that Heidi was posing as a police officer to stop Richard and Kenny from reaching Claire, but when Limping Man professes his love for Claire, Heidi turns her back on him. The final act reveals yet another twist. As Claire talks about updating her memory book, Kenny's negative attitude towards Richard becomes more understandable when the true nature of Claire and Richard's relationship is revealed.
Kenny tells of how Richard worked at the hospital where Claire was staying and proposed to her on a daily basis, taking advantage of her memory loss. Apparently, in his attempt to reform his criminal past, he was desperate for companionship; however, all that matters for Claire is that the trio are a family now.
The production was acclaimed, with sold-out audiences and mostly positive critical reactions, with the New York Times , New York Magazine and Variety among its proponents. Lindsay-Abaire established himself as a lyrical and understanding chronicler of people who somehow become displaced within their own lives. Lindsay-Abaire blends cliched ingredients into something savory and distinctive, with scarcely a tinge of residual staleness The production is willfully silly and grotesque, yet there's a cool, satisfying strategy in its piecing together of its jigsaw puzzle of a plot.
Lindsay-Abaire, a manic farceur with an original mind, surprises us all the way to the nut house and receives my Most Promising Dramatist Award, bummer though it is to be labeled 'promising.
However, while critics were pleased with the humorous content, one critic noted the "loose ends"  The CurtainUp reviewer wrote: "If you like your plays neat and orderly, with everything progressing in logical order, Fuddy Meers is not for you. Its prevailing mood is manic, its characters tend towards oddball bizarre.
The plot spins wildly out of control with Act 1 ending in total bedlam. However, if you're ready to suspend belief and simply enjoy an imaginative mind at work, you'll have a belly-full of laughs. Five years after its debut, it had been produced at over venues across the United States. Reactions were mixed when Sam Mendes launched the first British production of the play.
The reviewer in The Guardian pointed to Arsenic and Old Lace and You Can't Take It with You as examples that Americans in his opinion had a tradition of works "in which wackiness was a sign of liberating individualism", but that " From Wikipedia, the free encyclopedia. Categories : Plays by David Lindsay-Abaire plays. Hidden categories: Webarchive template wayback links All articles with unsourced statements Articles with unsourced statements from October Namespaces Article Talk.
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Who attacked Claire? This is frequently alluded to in the description of the nature of psychogenic amnesia, the flashbacks, and other description and actions. Which characters should be trusted with Claire: the Limping Man, be he Zachary or Philip, Millet with his outrageous alter-ego puppet Hinky Binky, or husband Richard, condemned by the Limping Man and hyperbolic son Kenny? What about the knifewielding mom Gertie or the faux policewoman Heidi? Who should be considered more dysfunctional Claire in her amnesia or Gertie in her attempting to communicate with distorted language? Should we exonerate Millet who perhaps may be forgiven due to his childhood abuse at the hands of his mother and who may be innocent of a committed crime, involving rings?
THEATER REVIEW; Born Anew Every Day To Be Abused And Baffled
Fuddy Meers by David Lindsay-Abaire is set during the course of one long day. Two years ago Claire was diagnosed with psychogenic amnesia , a condition that affects short-term memory. Every night when Claire goes to sleep, her memory erases. When she wakes up, she has no idea who she is, who her family is, what she likes and does not like, or the events that led to her condition. One day is all she has to learn everything she can about herself before she goes to sleep and wakes up "wiped clean" again.
Fuddy Meers Script Analysis
Since at least that famous time when Dante got lost in a dark forest six centuries ago and felt an urgent need for explanations, people have been waking up at halfway points in their existences and wondering what on earth they're doing there. Where, after all, would American literature be without the midlife crisis? Still, it seems unlikely that anyone has approached this much-discussed juncture with the buoyancy, friendliness and utter literal-mindedness of Claire, the perplexed but game heroine of ''Fuddy Meers,'' the dark, sweet and thoroughly engaging comedy by David Lindsay-Abaire that opened last night at the Manhattan Theater Club. Claire, who is embodied with an appealingly clouded sunniness by J.
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