[Performance Analysis:] FUNNY GUY, Barons Court Theatre, London.
The written text for Funny Guy, by Patrick Nash, is notably filmic with its highly brief and fast-paced scenes, which proves to complicate the performance quite considerably in many ways. Most notably, it compromises a sense of natural progression throughout, where the restrictive subjects of the characters’ discussions impact the entirety of the very next scene and thus feel too tailored and strategised, inorganic. We learn only superficial details about the characters, which serve only to assist story event developments, causing the characters to feel superficial and merely instrumental parts of a moralistic text, instead of active, relatable individuals with varied lives and versatile minds. As a result, there can only be little audience-character connection, if any, and the play's ultimate moral becomes less impactful and more of a mere sterile, logical acknowledgement. Emotional responses and connections prove to strengthen one’s appreciation of and accordance with morals of literary/performative works, so character depth and peculiarity should be sought for this purpose. Better blocking should also be sought here, as it is currently unclear where these characters are having these conversations; a better understanding of setting, with thought to levels, proximity and ambit of gaze, could strengthen our understanding of the characters, their relationships, and, more generally, their daily lives. Indeed, blocking feels too underthought and rudimentary at this stage.
Secondly, this structure prevents the physical functionality and smooth running of the performance, particularly in a theatre of this type and size. Transitions were clunky, with cast members bumping into one another and struggling to manage the copious number of scene changes and property rearrangements. Transitions were executed, on the whole, quite quickly, but their frequency allowed for a loss of momentum and fluidity, particularly after scenes between Dan (Jud Meyers) and Bill (Jesse R. Tendler), with some of these lasting only a few lines. It also makes the moral climax of the play, the introduction of The Neon (Tommy Vance), and the conversation between him and Dan, seem out of place. We quickly become accustomed to this fast pacing of the text with no markedly profound or emotionally divulgent interactions between the characters, and so this long monologue, becoming more of a preaching or lecture, can easily become quite tiresome and disengaging.
Two recommendations on the back of this: 1) Consider meticulously backstage etiquette, as curtains were left open regularly, leaving offstage cast members visible, compromising illusion, and 2) Grounding and topographical familiarisation techniques should be practised to ensure that actors are completely present and comfortable in the performance space — this would benefit Meyers's nerves at the beginning of the play, seeing his hands tremble uncontrollably, and Clara Francesca (playing Margie) and Karen Genaro Dosanjh's (playing Emma) interaction with set pieces and theatrical properties, where, for instance, ((( struggled after her kissing scene with ((( to recall the exact placement of the chairs, or where ((( struggled to unfurl her yoga mat in three attempts during her first scene.
These things considered, the overall cast proved to be excellent and strong performers, breathing credibility and conviction into their portrayals. They are clear about their character intent and have excellent timing. Perhaps a directorial decision, with the text being focalised through the character of Dan, but I just found Meyers's characterisation to be slightly too absent, artificial and distanced, with his minimal eye contact with co-performers, consistently facing the audience, instead — even pivoting to perform towards both audience sections in this particular theatre. Barring this, his and the cast's performances were exceptional and most convincing.
“A unique and focused text if slightly superficial and persecutive.”
Additional Notes on This Performance [for the Requester of this Analysis]
This technical analysis is included for free as part of The Performance Critic’s standard service. Please get in touch with Lee James Broadwood to receive your additional support and notes, as part of a premium analysis, concerning:
Puppeteering techniques to better realism and audience engagement.
Dynamism, variation and legibility in blocking.
Moralisations and audience persuasion.
Character development and depth.
Relevance and delivery of post-performance speeches.
Audience interaction.
These will be shared privately upon request.
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