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Analyze 'Pop Psychology' over brunch By
Chris Jones Looking to make a buck or two? Write a book, movie or show that comes to the earth-shattering conclusion that men act like other men, women act like other women, and, in the mother of all surprises, all relationships suffer from much the same problems. From "Defending the Caveman" to "The Male Intellect" to the numerous "Women are From Venus . . ." entertainment brands, limited, self-absorbed talents have hit the showbiz jackpot by making people trapped in dating (or marital) mini-hells pay lots of cash to feel they are not alone. Critics generally despise this whole stereotypical genre, but audiences typically ignore them and flock, in droves, to the likes of "I Love You, You're Perfect, Now Change." With its audience questionnaire, dating games, mating rituals and gags about women with off switches in their ears and men who secretly want to stick their mate's kitty in the trash compactor, Tony Rogers' "Pop Psychology" sounds dangerously close to the epitome of that dubious genre. But even though this locally originating and hopelessly Midwestern affair is merely a popular Sunday brunch event at the music venue Schubas (rather than a one-man Broadway show), it's a much more worthwhile show than its national equivalents. Warm, sunny and undeniably entertaining "Pop Psychology" is well worth a weekend look. Firstly, this is a full-blown, one-man musical replete with cheesy visual aids and a clutch of funny and melodic little songs sung by the genial, guitar-strumming host in a reedy but pleasant-enough voice. Secondly, the vulnerable Rogers has just enough irony and self-deprecation to suggest that he's sending the whole genre up, even as he is milking the laughs from personal pain. And thirdly, his voyage through the Midwest pop-culture wasteland is genuinely fresh and funny. Rogers is especially amusing in his renditions of the fodder from decades of lite FM, the life soundtrack of so many of those occupying the cookie-cutter Lakeview condos that surround Schubas. "Who cannot say," Rogers notes with validity, "that they didn't crank up a power ballad when they were hit by the emotional hammer of adolescence?" And before long, he's coaxed the whole place into re-living past tears and break-ups as accompanied, pathetically, by Air Supply or Journey. He's like a low-rent Dr. Phil with hair and an actual sense of humor. Rogers needs to further develop the original musical content of the show — and he needs to lighten up on the audience interaction and quicken his overall pacing. But he could already do this show for cash money in all kinds of settings. And especially give the paucity of theaters that serve eggs and French toast, "Pop Psychology" is an unusually tasty bit of fun. |
