America’s Got Talent’s finalist puts his red nose into the grin-stone through this new touring show currently playing for one week only at the heart of the London scene. Guillermo Nazara shares his views on the production, to let us know if this comical rendition actually had the last laugh.
It’s not difficult to put a smile on my face. Of course, the more you have, the more chances you’ll have of getting my attention – or even making my jaw drop. There are exception to that rule, nonetheless. And when there’s not much to see, I like to take solace in a good cackle. I’m talking about endowment, obviously. I mean, tools. How someone performs. Damn it… Oh, come on – it’s a show in Soho, what did you expect? Besides, you know how I like to open myself – no clarifications needed.
Anyway, we’re here to talk about last night’s show and that we shall do. Well, I will. You’ll just read and obey cuz regardless of the fact that we probably have never met (oh… what… a… pityyyyy…) you’re already my b*tch. Too bonkers for a review, you may think? Perhaps. But at the end of the day, so was the production I attended. Or at least, that seemed to be the idea.
Enter Puddles Pity Party (that’s both the name of the both piece and of the personage, as they were on a word budget -joking…-), a comical tribute to the soundtrack of a lifetime, led by Michael Geier’s emotionally powerful voice and wrapped under the whimsical image of a melancholic clown. Heart and laughter to be mixed altogether in what’s intended to be an absurd yet touching humorous experience, combining the two arts that soothe and appeal the most to the human soul: music and comedy. Sadly, though, only one truly made an appearance during the evening.
Going through a stirringly beautiful rep of acoustic pop-rock covers, the montage boasts Geiner’s exceptional crooning skills (and with good reason) – regaling us with almost two hours of flawlessly interpreted arrangements, and permeating into ourselves way more profoundly than just through the mere allure of its sounds. It all sounds spotless. And to this extent, it is. The problem arises when the other half of the show’s essence is brought into the equation: there’s hardly any satire – at least, not in too functional a form.
Despite its several efforts to deliver a satirical portrayal, one can’t help but notice (unfortunately, to some disappointment) that the jokes struggle to land – that is, if they at all happen. Regardless of a few gimmicks scattered throughout the numbers, there’s not much of a parody to be enjoyed (let alone, any narrative to be told), making of it more of a concert in character than a proper theatrical product. There’s hardly any cohesiveness apart from a very blurred guiding thread, and the rhythm is practically non-existent. His renditions are impeccable, but all in all it’s basically the same over and over again – bringing very little storytelling into what, wistfully, results in a slightly monotonous journey.
Parting from an excellent idea, Puddles Pity Party raises a voice through his infectious love for entertainment, but still needs to find its own one when it comes to defining their creation. A better scripted piece connecting its elements more intricately will allow its sparkle to finally ignite, and charm us with the flair that so far has only made a shy appearance, but remains latent underneath its blunt surface. I left the theatre wondering: “Where are the clowns?”. Now it’s time to return and think: “Don’t worry, they’re here”.
All pictures credit to Emily Butler.
Puddles Pity Party plays at London’s Soho Theatre until 18 March. Tickets are available on the following link.