Opening, Sawa emerges from the dark set design-free space with a studied awkward. He shares that he has just taken a course in public speaking and learned that one never says umm or anyway, nor ever apologizes. He then says, “Anyway”, then he says “ummm” and then apologizes, and stretches that word gag out again and again, which by audience guffaw meter count, never stops to charm. We learn why he’s Henry but not Henry. We laugh every time he mentions his father or mother with respective Tourette’s like sounds of fear or giggle. Subjects change in his ramble somewhat like an ocean’s undertow. Eventually, the playwright’s pen starts to screech its frustration in wanting to tell us something new—until it has nearly run out of ink, leaving his soul naked with his heart beating in our hands.
It’s quite a ride!
Along the way Sawa’s performance shows considerable acting range, in this writer’s view, as he brings the zigs and zags of the script alive, replete with the occasional disco dance moves.
Fellow pandemic prisoners who long for live performance will likely concur that this one-man show doesn’t suffer too much from its pre-recorded format. We do hear the audience quite a bit, sometimes making too much noise. It barely distracts from the FUN!!!!
HIGHLY RECOMMENDED
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HERE LIES HENRY
By Daniel MacIvor
Directed by Artistic Producer Elana Elyce
Featuring Scott Sawa
