Hornet Rating:

Performed by Matt K. Miller at the Sacramento Theatre Company, 1419 H St.

Regular Shows: Tues. to Weds. 6:30 p.m., Thurs. to Sat. 8 p.m.

Matinees: Weds. 12:30 p.m., Sat. and Sun. 2 p.m.

Tickets: $12 students, $26 matinee, $32 general

Buy Tickets: Sacramento Theatre Company box office, call (916)443-6722 or online at Tickets.com

Be prepared for a frantic evening of stomach-churning comedy if you decide to see Sacramento Theatre Company’s presentation of Becky Mode’s “Fully Committed,” an off-the-cuff satire that chronicles a hectic day of one man’s life.

The one-man play is reminiscent of a “Seinfeld” episode. Like “Seinfeld”, “Fully Committed” is a show about nothing and has nothing in the way of a traditional plot. This is actually a good thing, because a plot would seriously undermine the play’s subtle and subjective messages.

The performance’s non-stop action comes by way of the amazing Matt K. Miller, who portrays Sam, a reservations clerk for a posh four-star restaurant.

Sam’s your typical guy from next door and struggling actor combination. When two co-workers fail to show up for work, Sam is forced to conduct all of his business from the claustrophobic confines of the restaurant’s basement, alone. There he copes with catering to the needs of the restaurant’s staff and an avalanche of phone calls from people wanting to make reservations.

Miller’s handling of the play’s multitude of other characters is nothing short of awe inspiring. He manages to differentiate one character from the next by merely varying voice, gestures and body language. From Miller’s bouncy and high-strung interpretation of Bryce, Naomi Campbell’s assistant, to the reserved calm of the restaurant’s hostess, you’ll always know who’s who.

Sam is clearly the last wrung on the corporate ladder. He’s a slave to the system, one who’s forced to inform callers that the restaurant is booked for the next two months and is “fully committed” to the customers who made those reservations. He’s also powerless to counter the whims of his employer. At one point in the play, he’s ordered to clean up a mess in the women’s bathroom, something even the busboys refuse to do. He does put up a fight and protests when asked. But, like all the other times of conflict, eventually caves in and does as ordered.

Miller’s interpretation of Sam will definitely endear the character to audiences. He tirelessly runs back and forth from the head chef’s private telephone line to the restaurant’s intercom, the only other means of interaction between him and the rest of the staff.

Sam is a man who’s not in control of his life. He can’t even get time off from work to spend Christmas with his newly widowed father. Sam’s a toy, a yo-yo whose string keeps getting tugged from one direction to another.

But “Fully Committed” is much more than a show about a man who has lost control of his life. It’s also about the turning points where he experiences fleeting moments of clarity and the rare epiphanies that bring the reigns of control back into his hands.

For instance, Sam is immediately labeled as a by-the-book type of person when he receives a call from someone who tries to bribe him for a reservation. Sam diplomatically informs the caller that he doesn’t accept bribes for squeezing in late reservation calls. Later on, Sam’s attention is drawn to an envelope on the floor when the same person calls again. When Sam sees the wad of money inside the envelope, he doesn’t hesitate to take it before bumping another customer off his table. Turning points like this help to make Sam a more believable and human character.

The theatre company’s use of Stage 2 for the play helps Miller to suck the audience in. The stage’s seating capacity is diminutive, maxing out at 80 people. This makes for an intimate arrangement. You can’t help but feel involved because everything is happening only a few feet away. Miller’s close proximity to the seats negates the disconnected feeling that’s often associated with productions staged in larger auditoriums.

The play isn’t without its pitfalls, though. The use of profanity in some of the dialogue can be distracting at times. As the play progresses, certain bits of information are left out. For instance, several parts of set’s background are covered with bold notes forbidding the acceptance of a reservation if it’s called in by a man named Finley. He does make an appearance in the play but the reason for his blacklisting never surfaces.

Miller deserves kudos for a masterful performance that puts the audience in Sam’s shoes. Your nerves will be frazzled and your brow sweaty by the time you leave the show. Kudos to Mode, too, for creating a pulse-quickening restaurant comedy that everyone can relate to. Just remember to bring a bottle of Pepto-bismal or a roll of Tums.