The Dead Guy

Reviewed by Holly Bartges

If you happen to think the TV reality shows are the ultimate current fad, then Curious Theatre Company’s current production of The Dead Guy —directed by Chip Walton — a slap-stick satire on ultimate Reality TV shows, will tickle your funny bone no end.

Todd Webster plays Elden Phelps in the regional premiere of The Dead Guy at Curious Theatre Company. Photo by Michael Ensminger

If, on the other hand you think the Realty TV shows are a slapstick version of TV reality, then The Dead Guy might be overkill.

If over exaggerated slapstick cartoon characters are your theatrical cup of tea to unleash knee-slapping, rib tickling laughter, then, by all means, The Dead Guy is geared just for you.

If, on the other hand, slapstick for you is one of the lowest comedy forms, and a small dose goes a long way, then you might want to think twice before making reservations.

Pure and simple, The Dead Guy is a straight-out slapstick satire on the Realty TV shows. Granted it is very well done, with six extraordinary talented actors who bring the cartoon etched characters off the printed page to life. They are consistent with their energy and broad strokes, maintaining the characterizations from beginning to end. To maintain, this is no small trick and demands high-end talent.

The Dead Guy opened Saturday, September 3 with a gala red carpet event, and although loud applause and whistles brought up the house lights when the stage romping was complete, there were a goodly number of audience members not applauding at all.

The Dead Guy just isn’t everyone’s cup of tea, and that’s perfectly OK.

Playwright Eric Coble wondered how far Realty TV could go. There seems to be no limit, no sacred ground, where Realty TV doesn’t dare show its face. With the stunning popularity of watching individuals play high stake strategy games at the expense of other contestants, showing the worst side of humanity possible, having the editing process making it even more absurd, Coble played the “what if?” game. It seems some people will do anything for a million dollars.

What if, a spun out of control looser, say a looser like Elden Phelps (Todd Webster) who bumbles his way through life in Leadville, Colorado is offered one million dollars to live the high life for one week. Of course, there is a catch. Phelps must agree to die on television in whatever manner the TV audience choosers.

With her career on the line, Gina (Elizabeth Rainer) seeks out the ultimate looser, finding her target in Elden. With desperate exaggerated moves on him, she convinces Elden he has nothing to loose, and everything to gain. He will go out in a blaze of glory. He will become somebody. For one week he can live in the lap of luxury, have whatever he wants, do whatever he wants, go wherever he wants. He only has to consent to being filmed every waking moment, before he dies with cameras rolling.

Webster carves and curves Elden with precise determined overblown strokes of running the emotional gambit. Rainer stunningly tempers Gina with vulnerability for her desperate career with power and control over her protégé. There is no question the two are exquisite in their frenetic roles.

Bryon Matsuno is delicious in his role of Dougie; the unrelenting video photographer of Elden’s every move.

Dee Covington plies her comic wares with expertise easily flipping back and forth in three roles: Roberta the loud mouth, overbearing camera hungry, desecrated mother of Elden and Virgil, a slap happy Hooker Elden freely invited to Disney World, and Sheila.

Ed Cord turns his artistic attention into Virgil, Elden’s slowwitted brother, a Security Guard, and Leon.

Jessica Austgen lends her inventive talent toward Christy, Elden’s contrite and tender girl friend, a flamboyant hooker, and Nancy.

A colorful simple set designed by Michael Duran allows various scenes to unfold, flashing brilliant colors in three light panels. Six television monitors grace the stage reflecting Dougie’s taping. Fortunately, the monitors worked well during the performance. They were also used to televise the red carpet champagne greeting outside the Acoma Center, but suffered from a shaking camera, fuzzy lines, and enough snow to create several snowmen.

Sound designer Matthew Morgan integrated the appropriate clatter, babble, and thuds with lighting designer Shannon McKinney.

The ending comes as no surprise. When the moment of truth arrives, there is a strong wanting for people’s choice to be what transpires.

With Curious Theatre at the helm, it isn’t a question as to whether one should see this production concerning quality. The quality is outstanding. It is a simply a question of taste of what one thoroughly enjoys in the theatre realm. If cartooned slapstick reigns high in interest, then by all means don’t miss this production. If on the other hand cartooned slapstick leaves you wishing for the houselights to come up, Denver theatre offers a variety of other choices.