‘Tales From Late Night Kroger’ @ Pegasus Theatre
—Rickey Wax
By the time the curtain falls on Tales from Late Night Kroger, it’s impossible not to feel the indelible presence of Bruce R. Coleman himself—a beloved, multi-talented NTX artist whose humor, wisdom, and vibrant spirit infused every aspect of his life—and this production. Produced by Pegasus Theatre in honor of Coleman’s enduring legacy, Tales captures the unique charm and wit that defined his work. Having had the privilege of knowing and working with Bruce Coleman, I couldn’t help but feel him around us throughout the performance, guiding us into his particular vision of life.
Tales from Late Night Kroger is a collection of short stories spun from the seemingly mundane, sometimes crazy, and always deeply human adventures that take place in an Oak Lawn grocery store. Coleman transformed the details of familiar, everyday errands into captivating narratives rich with character, humor, and heart.
The simplicity of the set, designed by Billy Betsill, enhances this sense of universality. Costumes hanging around the space evoke Coleman’s long career as a costume designer, and also represent the many characters we meet throughout the show. Projections by Becky McDonald add another layer of meaning and memory: displaying Coleman’s own sketches, the projections create a visual link to the man behind the stories.
Underscored by an electric guitar (Lyle Hathaway), The Man (Robert Bradford Smith) gives us a brief history of Oak Lawn in Dallas—a neighborhood known as a haven for the LGBTQIA+ community. His tone is both reflective and appreciative, as he explains how this eclectic, vibrant area has been a vital part of his life, a place where he has often felt at home. As a theater artist always wrapped up in rehearsals, The Man finds himself shopping at Kroger—the only store open when his schedule finally frees up. Those late-night runs have become a routine.
With a mischievous grin, The Man opens his first story with the bold declaration, “I am a murderer.” The audience leans in, unsure of what to expect. It turns out, he is confessing to his obsession with Kroger’s rotisserie chicken. He describes his ritualistic devouring of the chicken after every grocery run, and we laugh as he compares his chicken addiction to something illicit.
Enter Betty, the woman who works in the deli. His “dealer,” The Man calls her affectionately—the one who always has his chicken ready. Their relationship is both comical and endearing, with Betty treating him as a regular and offering him an extra chicken wing each time. But things take an unexpected turn when Betty asks, “How’s your wife, Sharon?”
The Man is caught off guard—he has no wife, and certainly no one named Sharon. In a desperate attempt to avoid awkwardness, he spins a lie on the spot, creating an entire fictitious family. The situation becomes increasingly absurd as he concocts details about his imaginary wife and children. The more elaborate his story gets, the more trapped he feels. The audience is left in stitches as he hilariously juggles the complexities of his made-up life whenever Betty is around.
Having warmed the audience up with his “murderous” adventures in the deli section, The Man continues with a series of stories that unfold like a tapestry of comedic and heartfelt moments. Each is filled with the wit, charm, and sassiness that were signature elements of Bruce Coleman’s own personality. Bradford’s performance feels like a conversation with a close friend—comfortable, inviting, and at times, delightfully inappropriate.
Director Ashley Puckett Gonzales handles the material with sensitivity and tenderness, and the show makes us see that Tales is more than a string of funny, heartfelt moments. It’s a reminder of the joy of storytelling, the power of community, and the quiet ways we leave a mark on the world around us. Bruce Coleman has left behind a legacy, and this play—equal parts absurd and poignant—is a fitting tribute to a man who found magic in the ordinary. As the audience left the theater, I couldn’t help but feel that Coleman was grinning down at all of us, pleased to have once again brought some welcome light and laughter into our lives.
WHEN: October 11- October 26, 2024
WHERE: Bath House Cultural Center, 521 E Lawther Drive, Dallas
WEB: pegasustheatre.org
