Audiences waiting for a Rick Miller Simpsonian return to MacHomer or a ‘second coming’ of the celestial hit Bigger Than Jesus need to exercise a little more patience in having their prayers answered.

HARDSELL, a mild diatribe that sets its sites on the relentless marketing machine, tickles and thrills but doesn’t pack the comedic punch of the previous offerings. The good news is that the show doesn’t even attempt to try earning the solo performer two thumbs up for continuing to push the cerebral envelope with his logo of suspicion and satire.

The offering is hosted by Miller’s crass doppelganger, Arnie, an entertainment stalwart inviting showgoers to book a room at the Hardsell Hotel for a walk down memory lane. These comical anecdotes break linear rules galore while challenging conventional storytelling cohesion. Stir the production with fart sounds plus a handful of impersonations and the facetious framework is in place for science and psychology to begin dissecting the advertising realm for its callous ways.

Rick Miller doesn’t just make fun of world dominating enterprise; he goes as far as blatantly ridiculing himself. Yes, indeed, Mr. Showbiz himself dares to suggest that we’re all guilty of selling out on one level or another. His deep, mellifluous voice gives the presentation the credibility required for HARDSELL to have purpose.

The creative team led by director Daniel Brooks produces a rare phantasmagoric ambiance reminiscent of filmmaker David Lynch’s earlier works. Accented by striking multi-media projections the show draws to a resplendent conclusion scored by Radiohead’s ‘Creep’ to tie up the loose ends.

HARDSELL feels more like lax stand-up with a splash of improv more than it does a play. Amusing digressions carry the show adequately despite the absence of thundering laughs one would expect from Canada’s renegade funnyman.

Only a stage maestro such as Rick Miller can get away with this kind of imbalance and still make it a worthwhile night at the theatre.