Get Thee Behind Me, Santa: An Inexcusably Filthy Children’s Time-Travel Farce for Adults Only
Presented by Maximum Verbosity
Produced by FringePVD
Written and performed by phillip andrew bennett low
Performed on July 20, 2020 at 9PM
Website: Maximum Verbosity
Maximum Verbosity on Facebook
Critique by Kitty Drexel
My sincere apologies to low re: review tardiness. The pandemic kills productivity like a mother.
ZOOM — Maximum Verbosity presents a holiday allegory to beat that tired one told every single Christmas. Get Thee Behind Me, Santa features cursing, sexuality, blasphemy and other microaggressions.
Get Thee Behind Me, Santa is an exceedingly fast-paced holiday allegory with an occasional rhyme scheme that pulls no punches. Jesus of Nazareth, Saint Nick, two angels with a greater appreciation for the physical form and a cast of other characters are determined to live in a better timeline, a timeline without a Santa cult.
It makes fun of the Da Vinci Code but it’s more similar to the popular 2003 mystery novel than it isn’t. GTBM,S jumbles together art, religion, science fiction, film noir, and other seemingly incongruent references into one tale. Therein lies the intended humor.
In humorous narratives of this ilk, the jumble of references is the point. Lists are par for the course. Except, GTBM,S is told at such breakneck speed that we aren’t able to absorb all of phillip andrew bennett low’s puns and scenes. They aren’t funny if we can’t savor them. The image of elves with super soakers is funny but, with low’s telling, blink and you’ll miss it. The same goes with many of the other clever bits concerning the Bible, popular soft drinks, and the Mayan civilization.
The funniest moments of GTBM,S are when low pauses after a character’s one-liner. Jesus said, “Howdy-do?” Low gave us time to react, so I did; I laughed.
Someone said (I couldn’t catch the character’s name), “I am amazed at how useless I find your vowels.” Low paused again; I laughed again.
I was able to respond in real-time to low’s work. It felt amazing. Audiences of artists want to respond to an artist. Please let us.
Theatre shouldn’t be a race to the finish… Unless it is. If the point of GTBM,S was to impress the audience with how quickly and how much low can spit a monologue, low succeeds. But, we couldn’t tell that this was his goal. He needs to indicate this to us.
Some of this can be excused by the medium of Zoom. A one-person show without an audience is torture for an artist. We create with the presumption that an audience will share the room when we perform. Without the audience, we fly by the seat of our pants. It’s anyone’s guess how things will turn out. We can only hope for the best.
Based on the GTBM,S trailer from the 2019 Minnesota Fringe, I’m going to make an educated guess that low’s speed is intentional. If low’s intent truly was to tell a convoluted story overflowing with references across modern and archaic world history while ripping Christianity a new one, he needs to slow down so the audience can receive the story.
Storytelling can be as alinear as the space time continuum but, if it’s for an audience, it also has to be available to that audience. Artists need to perform at the same speed that an audience listens. Anything else is masturbatory.
Next performance of Get Thee Behind Me, Santa: Friday 7/24 at 9:00pm
FestivalPVD runs July 19 – August 1, 2020
Information about the 2020 festival HERE
FringePVD on Facebook