Constructed like a prop ahead and with a loud voice augmented by a radio mic, McPherson takes us by the previous love lifetime of his character, Dan, within the hour earlier than his subsequent date.
Via a collection of awkward encounters, tousled feelings, misinterpret alerts, drunken kisses (“Calpol and tequila”), Dan appears an amiable man searching for love, discovering it and dropping it by his incapability to maintain relationships with ladies or males.
He admits to being a storyteller which supplies the clue to his actual motives and character that solely emerge within the concluding minutes of the present.
With nothing however a stool as a prop, McPherson performs with a dancer’s grace regardless of his sturdy physique.
The language is semi-poetic, stuffed with alliterative phrases and inside rhymes that add to the stress in addition to the amusement.
Below Susie MacDonald’s assured course, the lighting and Sam MacDonald’s sound design are impressively woven into the monologue, highlighting phrases and moods; at occasions he looks as if a slam poet, at others, a rapper.
He even sings a number of strains.
Alternating between fixing the viewers with a basilisk stare and a self-effacing grin, he teases us into believing the reality of Dan’s nature.
The ultimate revelations ship a punch beneath the belt that has you rewinding the monologue to search out the clues that he has laid all through. It’s a deceptively intelligent and brutally trustworthy sixty minutes.
Colossal is on the Soho Theatre till March 25 (Tickets: 020 7478 0100).
