One Man Seen | Performing Arts Review | Chicago Reader

One Man Seen 

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One Man Seen, FuzzyCo, at WNEP Theater. For the past few years improv savant Andy Eninger has been performing and teaching a solo improvisational style he devised--the Sybil, a one-person version of the Harold loose enough to excuse any lack of continuity. But in his latest effort, a completely improvised solo one-act, he's aiming for the kind of coherence and narrative arc unlikely to be achieved when the performer's flying by the seat of his pants.

What's great about Eninger is that he trusts his gut: after getting a suggestion from the audience and setting the scene, he treats each minute as precious and dives right in. He also has great stage presence. On the night I attended, he offered a gently warped investigation of sex, lies, and intrigue at an underwater hot dog stand, a setting he established and used flawlessly. But his blissfully lowbrow characters were somewhat underdeveloped: you could see him struggling to give them shape, a problem that's easily circumvented with the quick-change format of the Sybil. And the way Eninger delivers the dialogue--shuffling around the stage and plunging in and out of character--is one of those things you tolerate in a performer who inspires absolute allegiance. "You can trust me," he said during his introduction, and it's true: the form is far from seamless, but Eninger is capable enough that he succeeds through sheer force of will.

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