There are a lot of reasons to appreciate and enjoy certain Off-Broadway productions, with the quirkier presentations, more intimate venues, and bawdier humor. The Fartiste, playing at Sofia’s Downstairs, embraces all of these qualities and more, bringing the dimly-lit cabaret of Belle Époque Paris to life in a vibrant production that offers lots of laughs as well as eye-popping entertainment.
As its name implies, the play centers around a performer with a most unusual talent: musical farting. Using the real-life “fartiste” Joseph Pujol as the lead character, his introduction sets the tone for the humor of the rest of the play, addressing the potentially scatological humor with a great deal of wit and imagination. As Pujol (Kevin Kraft) pitches his act to the seedy Zidler (Herndon Lackey), he casually, even timidly, explains the nature of his act before Zidler finally interrupts and says, “You mean to say you make music with your ass?” The moment reminded me of the Monty Python routine about a man with three buttocks, where John Cleese’s interviewer nervously asks the man about his “rump,” “derriere,” and “sit-upon” before the interviewee responds, “Oh, you mean me bum!” to Cleese’s horror.
Pujol’s “talent” is done very tastefully, with the illusion of his act allowing our imaginations to run wild. The true star of Pujol’s onstage flatulence is vocal artist Steven Scott, standing just to the left of the stage at a microphone, emulating a myriad of sound effects in a manner not unlike Police Academy star Michael Winslow. The play dictates that Pujol’s fartistry includes the ability to skillfully imitate the sounds of a trumpet, a saxophone, and even a distorted guitar (complete with an onstage impersonation of Pete Townshend’s windmill by Kraft), giving much greater depth to Scott’s talents beyond mere raspberries.
While the play’s classy riff on potty humor is its most obvious feature, the true talents of the show lie in its cast. Kraft is great as Pujol, instantly likable for both his unique talent and his ambition of hoping to use his sphincter as a musical instrument rather than a mere novelty act. His desire to be taken seriously is a source of conflict for him, as well as for those who are benefiting from his talents. Herndon Lackey is a scene-stealer in his supporting role as Zidler, playing the top hat-wearing promoter that is part Milton Berle, part W.C. Fields. He did a show-stopping song and dance near the play’s end that prompted raucous cheering and applause. Some of my favorite lines, however, were from Nick Wyman’s Aristide, the sharp-tongued MC of the Moulin Rouge, making a crack about the obscenely wealthy before stopping himself and saying, “I’m sorry, I meant ‘job creators,’” before carrying on with his dialogue.
Perhaps the best part of the show – which is already stellar – is the trio of dancing actresses (Rachel Kopf, Analisa Leaming, and Lindsay Roginski) whose deftly-choreographed routines are nothing short of impressive. Roginski has a memorable turn as a seductive trollop from Montmarte, while Leaming plays Pujol’s understanding wife. Kopf is hilarious as Pujol’s onstage assistant, holding her nose during his routine.
Clocking in at a brisk intermission-free 90 minutes, The Fartiste runs along without losing a fragment of momentum. The songs boast clever (at times highly suggestive) lyrics, with bouncy melodies and excellent choreography, while the acting on the stage provides a great case for the argument that this needs to be adapted into a feature film. In its 2006 premiere at the NYC International Fringe Festival, The Fartiste took away the “Best Musical” award, and with its run at Sophia’s, I’m sure it is destined for even more attention and acclaim.
Photos by Carol Rosegg, from top:
1. The Cast
2. Nick Wyman, Herndon Lackey
3. The Cast
4. Lindsay Roginski, Kevin Kraft, Rachel Kopf, and Analisa Leaming
The Fartiste
Sofia’s Downstairs Theater
221 West 46th Street
