MANBO will have audiences of all ages in fits of laughter as the âmickeyâ is truly taken out of ridiculous action films and their buff, somewhat thick-headed and overly glamorised Hollywood war-film heroes.
Oh no â the Colonel (his military rank is all we know him as) has been taken hostage by the evil Russians! Only one man, one legend, can save him from these evil torturers, and thatâs⌠MANBO. As the audience follows our idolised, super buff, emotionally guarded fighting machineâs journey (think Jean-Claude Van Damme in any of his films) to rescue his mentor within this self-aware, cliched storyline, this high energy production (with plenty of hilarious audience interaction) has the theatre cackling with laughter.
Obviously, MANBO is a pull on the name of famous 80âs film character, Rambo (played by Sylvester Stallone), who provided us with a tough-as-nails ex-soldier fighting the bad in the world (and donât forget the flashbacks to his buff, topless fights in the steamy Vietnamese jungle during the war). Playing off this character, plus many more who fill glorified action films, Samâs creation of a caricature soldier that could be from an (almost propagandist) American war film is very similar to that of Ben Stillerâs ridiculous character in the 2008 action-comedy film, Tropic Thunder. The overly dramatic facial expressions combined with an attempt at a sexy deep and husky voice and overly dramatic line-reading mock the ridiculousness of the glamourised soldier that is positioned as protagonist within much of pop culture and Hollywood productions.
Sam also humorously explores the often joked about homo-erotic undertones of these war-focussed films, from buff, topless men enthusiastically hugging each other (Top Gun) and the deep love and emotional connection between male soldiers/colleagues (The Expendables, Predator, Tango and Cash), to the sexualised action of forceful hip-thrusting while shooting repetitive machine guns and large missiles, plus simple statements like ânice cockâ. And, as Hollywood films have depicted, war is always the perfect time for steamy romance, as the audience witnesses masculine Manboâs struggle to open himself up to the possibility of love with a character we only know as âcontact womanâ.
The set is minimalistic with only a black screen for costume changes between various battle-scene outfits and a couple of props (a rotary phone to provide the news of Colonelâs capture and a spray bottle and leaf-blower for a sexy, topless, getting buff montage). Sam utilised miming to play out the narrative and many action scenes, including being tortured by evil Russians, killing audience members with freshly sharpened throwing knives, a getting buff in the gym (with the help of steroids) montage, and, of course, fighting evil Russian soldiers. Samâs strong background in theatre and acting sell these scenes to the audience, and also include some hilarity in the depiction of the bodyâs bowel movements and uncontrollable dispelling of liquids as it dies.
Although MANBO does obviously include depictions of fighting and war-like scenes, and the enemy is an army of Russians, it doesnât seem uncomfortable to experience while a real-life war is raging in Ukraine as this is written. Samâs humour focuses on the more ridiculous aspects of war as they are portrayed by Hollywood and glamorised by pop culture, and you donât find yourself feeling like the show is at all in bad taste.
If youâre just not sure what to see this Fringe, get yourself some tickets to MANBO. It is fun for all with an impressively high-energy and humorous performance from Sam that will entertain everyone.