Props to the person who put Guy’s show in the Winningstad–it’s my favorite theatre for just this sort of small show. Because it’s a big theatre with a small stage the audience gets to feel like an audience (why 100+ people are necessary for this feeling I don’t know, but it just isn’t the same with 10 in a room of folding chairs), while the small stage feels intimate and perfect for the sharing of personal thoughts. And also cute dance steps, let’s not forget that. Those who saw 33 Fainting Spells last year will see its kinship with Guy’s show. Guy skipped and slumped and trotted and travelled miles in 20 square feet of stage-cum-French countryside. A huge acknowledgment for this successful utilization of space goes to the lighting designer, who used full light for daytime, a square light against the curtain as a bed, green lower lights for a car dashboard, and pitch black for night, all of which created both huge fields and claustrophobic passenger seats for Guy to work within.

Guy’s show reminded me of how much I love a good one person show. With a single chair, good lighting, and great stage presence, Guy spun a tale of epic proportions with the heart of a nineteen year old and the retrospection of a grown man. I would love to bring Guy to a dinner party, his storytelling makes you want to eat soup with him and snort into your water glass. The one criticism I have to offer is that the last line fell flat. The story followed a natural arc reached an organic conclusion, and Guy wisely chose to avoid over-wrought analysis in the final moments. It was something in the delivery, almost like his voice cracked with a bit of fright, that made it feel forced. I remembered that it was a practiced recitation only in the delivery of the last few lines. This was a truly enjoyable performance, and I will keep an eye on Guy’s future work.