From Alexandra Bonifield, Director:
Andrew and I have lived, breathed, worked, questioned, debated, resolved, and reworked aspects of character, voice, intent, arc and plot in THE GOOD THIEF since December 2015. It’s become a vital element of daily existence, script never poised far from thought or elbow, the subject of endless phone discussions. Weeks built themselves around the days we rehearsed THIEF. Not only did the play become more interesting as we progressed, it drew us both deeper and deeper into the reality and personality of its booze-swilling, tale-spinning character and the people who fill his world. It’s a significant work of genius. Bless Conor McPherson. Directing THE GOOD THIEF has become one of the most illuminating experiences of a year that has led me through unprecedented transformation. Attending each performance has become a rich, spirit-filled event, unforgettable. I am reminded each time what a ritual of communion theatre can be.
The brief moment before the show starts, before Andrew enters transformed into the Thief, is pure magic. I sit stage right, front row, where he has asked me to sit. I pray, ground, breathe and experience a head-spinning rush of exhilaration in anticipation of what’s about to take place. The audience, to my right, bustles with animated energy. They don’t know what they’re in for. I do. I sense and hear Andrew softly shift and stretch backstage to my left, ready to step out to engage, own the stage with his signature burst of immersive creativity. Just as the pre-show music fades and the lights go to black, he glides in, takes a seat upstage, leaning over the back of a plain wooden chair. The theatre goes silent, breathless. He mutters into soulful blackness and lights his first cigarette: “Let’s begin…with an incident.“ His face emerges in rose-hued half-light, smoke swirling around him, a haunted vision. Seated at the precise energetic intersection between actor and audience, I float there, in pure joy, as our mutual creation emerges and connects. Andrew’s voice washes over the audience with an angst-ridden, rough Irish lilt, like a wild, confessional howl. The tale of manic mayhem and transformation unfolds, beat-by-beat, cigarette-by-cigarette, gulp-by-gulp from the whiskey bottle he clutches. It’s the finest work Andrew has ever done as an actor. I suspect the same is true for me as a director. I don’t think I could feel more gratitude for my chance to helm this production.
From R. Andrew Aguilar, Actor – invitation to our final performance:
I have some truly awesome friends.
The show of support over the last two weekends at FIT has been incredible, and I have been very honored with many of the things that were said to Alexandra Bonifield and myself regarding the work we have done on THE GOOD THIEF.
We have one more show at #fit2016 , and that will be Thursday July 28th at 8 pm along with House Party Theatre.
If you haven’t yet…and you are able…please come join us.
REVIEW: Mark Lowry –“ Make The Good Thief one of your must-see FIT experiences.”
REVIEW: Nancy Churnin – “L.I.P. Service made an impressive festival debut…under the taut direction of Alexandra Bonifield.”
REVIEW: Christopher Soden – “Aguilar’s fearlessness would terrify a tiger.”
THE GOOD THIEF, award-winning 1994 solo work by Irish playwright Conor McPherson, plays one last time at FIT 2016 on Thursday 7/28, the second offering in the 8pm block, following House Party’s WEALTH MANAGEMENT. At the Bath House Cultural Center in East Dallas. Produced by L.I.P. Service, Jason Leyva owner/producer.
“Jesus, remember me when you come into your kingdom.
He replied to him, “Amen I say to you today you will be with me in Paradise.”
Luke 23: 39-43