The biggest loser

‘The Dead Guy’ is a spotty spoof of reality TV

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Playwright Eric Coble presumably does not understand why people watch reality television.

If he did, “The Dead Guy,” now atWilliamston Theatre, might be a sharper satire in the vein of “Network”or “The Truman Show.” But the show’s very concept suggests that Coblecannot appreciate his topic on its own terms, resulting in flawedpremises and shallow characters that make “Guy” feel cynical instead ofcomically cerebral.

To be fair, Coble’s criticism of theAmerican desire for notoriety — however fleeting or destructive —stings with truth. “Guy” extrapolates Andy Warhol’s dire prediction ofmomentary fame to its darkest limit, supposing that rudderless peoplewould accept enormous cash and camera time in exchange for theiruntimely death. Why not?

However, from a viewer perspective,Coble’s argument hinges on three fallacious assumptions: 1) that peoplewould watch reality television if they knew how it would end or whowould win; 2) that people have become so bloodthirsty that they wouldknowingly participate in a televised murder; and 3) that they wouldknowingly murder a television personality that they had grown to love.Each possible, but highly improbable.

Set somewhere between present-day andthe near-future, “Guy” finds network executive Gina Yaweth (RobinLewis-Bedz) in need of a new ratings hit. Her previous show, “HeavyPetting,” about ordinary people attempting to tame wild beasts, bombed.Despite audience’s disgust with gimmicky grisliness, Yaweth’s nextpitch entails following a hapless schmo spend $1 million in one weekbefore perishing (literally) at the whim of the viewing public. EldonPhelps (Chris Korte) is that schmo (or rather the sucker) whom Yawethdeviously manipulates. When Eldon’s initial spending plansdisintegrate, he is forced to examine his real priorities before timeruns out.

As a show within a show, “Guy” instantlyconjures up the ludicrous spectacles like “Fear Factor,” in whichaverage souls subject themselves to humiliations as entertainment. Acameraman (Eric Eilersen) films Eldon’s every move like a one-man“Jersey Shore,” but unlike its drama-driven counterparts, Ginacuriously steers Eldon away from troublemaking activities like bringinghookers into Disneyland. In this reality show, positive role models,not unhinged narcissists, drive ratings.

As the show’s producer, Gina’s arceasily parallels Faye Dunaway’s career-driven sociopath in “Network” orEd Harris’ god-like figure in “The Truman Show.” Lewis-Bedz gleefullyprovides Gina with devilish charm to back up her manipulative pleas.Gina’s doing Eldon a favor, after all. Korte conversely shows littlecharm and few likeable features that would make him a high-profilereality show star.

As cameraman Dougie, Eilersen remainshumorously aloof while supplying his occasional zingers with requisitedryness. Fellow Michigan State University students Ian Page andMichelle Serje bring believable motivation to a variety of characters,as does Williamston managing director Chris Purchis as Eldon’s mother.

The show’s strongest elements are thebackground and extra features. Zac Campbell’s scenic design, includingscaffolding, exposed stage lights and six TVs gives “Guy” the ominousambiance of timeless media critiques from the 1980s, like theshort-lived but influential “Max Headroom.” But the televisions are notjust stagnant props. Dougie’s camera actually works, allowing liveshots to be integrated and displayed on the monitors. Furthermore,media designer B. Emil Boulos’ faux ads selling the spirit ofconspicuous consumerism or a hilariously powerful sleep aid known asNocturna provide spot-on comic relief. 

Despite crisp pacing from director TonyCaselli and always top-notch lighting and sound design from GenesisGarza and Peter Martino, respectively, “Guy” suffers under Coble’sbleak assessment of human behavior, which gives audiences aself-righteous slap instead of an emotional punch.

‘The Dead Guy’

Williamston Theatre

122 S. Putnam Road, Williamston

Through Oct. 30

8 p.m. Thursdays and Fridays; 3 and 8 p.m. Saturdays; 2 p.m. Sundays

$25 Friday and Saturday evenings; $22 Saturday matinees and Sundays; $20 Thursdays; $10 students; $2 off for seniors 65 and over

(517) 655-7469

 www.williamstontheatre.com

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