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EVIDENCE ROOM PRESENTS
John Fleck's
NOTHIN' BEATS PUSSY


Created and performed by John Fleck

Co-Directors - John Fleck and Randee Trabitz
Co-Developed with David Schweitzer and Randee Trabitz
Lighting Designer - Dan Reed

Producers - Ignacia Delgado and Bart DeLorenzo

Graphic Design - Colleen Wainwright

August 10 - September 14, 2002



John Fleck



John Fleck and friends


John Fleck and friends


Reviews

Los Angeles Times

In Nothin’ Beats Pussy, playing late-night Saturdays at the Evidence Room, performance artist John Fleck offers a veritable happy hour of Dadaist pyrotechnics. Along the way, he reconfirms his genius at existential mayhem.

At the outset, our body-miked host works the lobby, offering highballs all around. Using his inherited parental collection of kitsch recordings as schematic fodder, Fleck’s subsequent direct-address musings carry multiple meanings, starting with the title.

That ostensibly refers to Fleck’s latest persona, a would-be starlet of sub-Joey H eatherton stature. Her trek to Hollywood debauchery intersects with Fleck’s own flight from Cleveland to Screenland, with blond ambition, familial requirements and orifice maintenance the predominant motifs.

Possessing a classical technique tailor-made for the roles Geoffrey Rush keeps landing, Fleck gambols in jagged immediacy.

He pays attendees cash for their onstage participation. He juggles low-camp burlesque and Señor Wences-style puppetry to embody Pussy and her co-star Del Cracker, singing in a manner suggesting the lovechild of Johnny Ray and Yma Sumac. And when something goes awry, Fleck incorporates it with unparalleled reflexive speed.

The piece is less conclusive than its creator, transitions still evolving and the resolution hastily achieved, despite co-director Randee Trabitz’s knowing eye. Still, for demonstrating how to render life and art indivisible, nothin’ beats Fleck.

– David C. Nichols


LA Weekly

The provocative title of John Fleck’s semiautobiographical one-man show refers to what Fleck’s father reportedly muttered on first suspecting that his son was gay. During this Bizarro World tour de force, the ever flamboyant performance artist recounts his life story – scattered through a prism of his own disjointed perceptions. The result is a series of images of varying cleverness, some grippingly imaginative, some half-baked. Fleck’s show opens with him insouciantly greeting the audience with highballs and cookies. He then takes the stage for a whirlwind freeform monologue that’s equal parts standup and motor-mouthed spew. One minute, Fleck is recalling his dad in 1973, making him dance with a sultry blond belle at an American Legion dance. The next, Fleck puts lipstick on his closed fist, covers it with wig hair, and turns it into sultry movie star "Pussy." Then Fleck bribes audience members with a dollar to say why they love him. Many of his ideas remain undeveloped, and some references are unclear. However, co-directors Fleck and Randee Trabitz’s production zips by at light-speed, with plenty of humor and a sensibility that’s simultaneously twisted and affecting.

– Paul Birchall


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