America Calling [by Matt Baker]
22 years on, Jon Pheloung returns to perform the self-proclaimed sort of sequel to his one-man show, One Man Guy. This, of course, raises the question of what, if anything, has changed. Having not seen the original production, I couldn’t say, but there is certainly a distinct feeling of the show not only taking place, but having been manifested in a different decade.
Pheloung is inarguably a gifted musician. His practical skills are polished and he demonstrates his theoretical mastery of the craft with subtle yet distinct differences in each of his songs. Not one of them sounds the same, which, in addition to the clever and humourous lyrics, prevents the story from becoming stale, which it becomes increasingly in danger of as the show progresses. Pheloung also manages to find a variety of tonal qualities in his somewhat restricted vocal range.
Andrew Potvin also finds variety in his lighting design, ranging from intimate cold blues to extreme hot reds, but also balances these out with simple spots – as one might find at a concert. Operation by Lauren Gibson is punctual, even with the more extreme transitions.
The show itself is more of a collection of things that happened as opposed to a series of consequential events and is roughly tied together under the premise of wanting to become an American pop star, however, it don’t profess to be anything other than this. Pheloung is comfortable on stage, narrating directly to the audience, at one point asking Gibson if she can get some air conditioning going.
Set design (uncredited) is simple; a stool, a chair, an armchair, lyrics in plastic slips, instruments adourning the back wall, and a series of cue cards to help Pheloung discern some sort of narrative. Direction is attributed to Torum Heng, but, considering the autobiographical delivery of the show, it feels as if Pheloung is commanding the majority of his actions. The truly engaging moments are when Pheloung gets into specifics, explaining the use of the word petard, describing Missouri drink driving laws, and addressing the decline in the value of artistic suffering.
For a night of light comedy, where homage is paid to the greats, and character comes before story, One Man Guy satisfies.
One Man Guy plays at The Basement Studio until 16 Mach. Details see The Basement.
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