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Mario Willis, Sr
on June 13, 2013 :
Holy Mackerel is a book of MONUMENTAL proportions. Do you like apes? Do you like intrigue? How about jokes, like those? Well this COLLECTION of two PLAYS rendered from the DIABOLICALLY HILARIOUS mind of David Press is sure to delight. Think 60's television mixed with modern cynicism mixed with bundles of laughter.
For our distracted and short attention spanned minds this is a perfect ensemble of brevity and supposition for short consumption.
Read one play today, save one for tomorrow... for the more creative minded it WILL spark the desire to make a card board cut out or two and perform this for friends and fans alike.
Outlandish and irreverent, Mr. Press calls it the "Theater of the Absurder"... I just call it AWESOME!
If I have one criticism it would be in his breaking of the fourth wall (spoilers) he makes me question who I really am. Could I be an actor, playing an actor, badly playing me? Who knows...
(reviewed the day of purchase)
on May 28, 2013 :
Rules are for living; we live by rules. For sanity’s sake, we navigate cosmic currents with expectation as our canoe and consistency as our paddle. The sun will rise; bills are due on the fifteenth; first base precedes second and it helps if the clasp is in front. So as Poe laid out the rules for the mystery and Hollywood the rules for the summer blockbuster, if these rules are ever broken or even bent, we look around incredulously and ask, “What the hell is going on?”
The very title of David Press’ Holy Mackerel: Theater of the Absurder at once removes the onus of having to ask this question: the rules are gone and we can enjoy the ride.
And what a ride! In The Last Remake of King Kong, the great monkey himself, through a series of life saving surgeries after his climactic fall, is an average, small apartment dweller living with Ann, the still screaming, leggy blonde object of his desire who has, in return, fallen for him. Yet this is just the core of the onion.
By the time we get to Channel Zero, we’ve gotten a sense of the Press’ internal rules. In TV Land, who is on screen and who is viewer is thrown into question, and though we may be familiar with the concept of a play-within-a-play, we begin to wonder if the audience itself, out here in our seats, isn’t a willing if unnamed character. Yet this is the absurder, and even internal rules have no guarantee.
At the end of the ride, which is in doubt despite the closing curtain, we realize that Holy Mackerel follows the same rules as the rest of us, that it always did, and that it is life, not these two fantastic plays, that is absurder.
(reviewed within a week of purchase)