The Practical Details
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Stage Door
Full guide →When to go. Head straight out at curtain call. Two-show days are the worst bet at both performances — the cast rests through the matinee and is spent by the evening. A Sunday matinee is the best single bet, because it is a one-show day. In bad weather the barricades sometimes never go up at all.
Who comes out. Anywhere from nobody to most of the cast. Nobody can tell you in advance which three — not us, not the theatre. Treat any list that claims otherwise with suspicion.
What to bring. Tonight’s Playbill and a fine-tip Sharpie, held open to the page you want signed. Ask before you photograph anyone, and keep the pavement clear — it is a working door, not a red carpet.
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The Lowdown
One man, one chair's worth of space, fifty-five minutes, and a story that starts as a routine bit of hired muscle and turns into something much sadder and much funnier than that. Conor McPherson wrote The Good Thief early, before The Weir made him famous, and it has the same trick: a fellow starts talking, you settle in for an anecdote, and an hour later you are somewhere you did not agree to go.
Christopher Fitzgerald performs it, which is casting worth the ticket on its own — a Tony-nominated comic actor with a gift for making a room lean forward, handed a monologue that rewards exactly that. It plays downstairs in Irish Rep's W. Scott McLucas Studio Theatre, a small room where nobody is far from the stage and nobody gets to look away.
Fifty-five minutes, no intermission, November 7 through December 13. You can be at dinner in Chelsea by eight. We would recommend somewhere quiet, because you will want to talk about the ending.
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Our full verdict on The Good Thief is coming soon. Reader lottery reports below have the on-the-ground intel in the meantime.
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