I hardly ever give one-star ratings in
these reviews, and when I do it is in a spirit of angry condemnation.
Never before have I awarded a solitary star out of desolate
disappointment.
The ideas were there. Theatre company Cartoon de Salvo enjoy playing
with dramatic form, site-specificity, improvisation etc. A couple of
years ago they played some nifty jug-band musical arrangements as an
ingredient in their series of improvised dramas
Hard-Hearted Hannah and other stories.
From there, why not make the band the subject of the evening? Thus was
born One Trick Pony, a mediocre weekend covers combo playing in the
actual upstairs room of the pub across the road from the Lyric
Hammersmith, and letting their personal and musical tensions show in
the course of what was meant to be a good-time evening.
The show itself calls to mind what I think of as the Postmodernist
Defence: “Yes, this is rubbish, but we know it’s rubbish and that
transforms it into something much better.” Sometimes this is a valid
argument, but far more often it merely aggravates the offence. The
problem here is simple and stark: whether through misjudgement,
under-rehearsal or inability, the de Salvos aren’t good enough to be
mediocre. As they trudge their way through a retro set that makes no
distinctions of genre – from “Mustang Sally” to “The Final Countdown”
by way of “We Are Family” and Marillion’s “Kayleigh” – it beggars
belief that a band could have been playing the same songs for 20 years
and still be this ropey. Basic guitar and keyboard chording, journeyman
drumming, and on “Should I Stay Or Should I Go?” director Alex Murdoch
pulls off the noteworthy feat of playing bass guitar more primitively
even than The Clash’s Paul Simonon.
As a result, when guitarist Richie (Neil Haigh) inserts a wildly
out-of-character original number and the resultant spat escalates to
his announcement that he’s quitting, it is not that tensions cut
through the jolly vibe so much as that the audience’s derisive response
to the numbers extends to the personal crises. If the show ran at the
expected 75 minutes, it might just have been bearable; an excess of
material, plus the initial journey from theatre to pub and (probably)
unscripted equipment troubles, meant that at just under two hours it
was purgatorial.
Written for the Financial
Times.