This review originally appeared in the Times Union on Jan. 12, 2012.
“The Intergalactic Nemesis” has landed at Proctors in Schenectady with an answer to the question, “What exactly is a ‘live-action graphic novel’?”
That’s how “Nemesis” bills itself, and though that term may bring to mind Christopher Nolan’s “Batman” series of movies, “Nemesis” is a stage-play hybrid: part radio show and part slide show.
Three actors at microphones voice multiple characters, while a Foley artist creates sound effects from objects on the tables before him — such as shoes, crinkled paper and even a box of macaroni and cheese — and a keyboardist maintains a dramatic score. Meanwhile, one comic book image after another is projected on a screen that towers above the people. The show uses more than 1,200 images.
The story is set in 1933 and reporter Molly Sloan, her assistant Timmy Mendez and a mysterious and heroic librarian named Ben Wilcott join forces to thwart the impending invasion of sludge monsters from the planet Zygon, who are aided by the evil hypnotist Mysterion.
The show has plenty of charm. A lot of that has to do with watching the quick work of Foley artist Buzz Moran and his delighted expression when he shakes a metallic sheet to create booming sounds of thunder.
Other fun moments come from the multiple voices the actors assume for different characters, especially when those characters are having a dialogue and one actor does both voices. The actor Chris Gibson stands out in this regard, as he hams up the maniacal laughter of the evil Mysterion, who is often in dialogue with Wilcott.
Silences are also effectively used, as when a revelation leaves the characters dumbfounded and the actors say nothing as the screen shows one surprised face after another. Also of note are the humorous ways the three actors create crowd conversation noise at a fancy party and on a street in Tunisia, and how they create the sound of applause by gently slapping their cheeks.
The show has enough of these moments to make up for some of its weaknesses, such as an overlong and static first act. A lot happens in that act, and I don’t want to give it away, but it does more to set up situations in which the characters react them to, instead of revealing to us who these characters are and what motivates them. In that regard, the second act is much better. I also wished that more of Tim Doyle’s images were better drawn, because too often the expressions and body positions seemed awkward and distorted.
One of the difficulties of this hybrid show is knowing what to watch: the images or the actors and Foley artist. In some ways, it seems as if it is playing against too much nostalgia for a clear focus. But if you’ve never seen a Foley artist at work, then this a must-see. Best of all, it is appropriate for audiences of all ages, from those who’ve never known a world without iPhones to those who once gathered around the wireless (radio, that is) for nightly news and entertainment.