Filed Under Just For Laughs
I had been cautioned before going into Ross Noble not to believe the hype, that, contrary to the official spiel, the wildly prolific cult Englishman’s act wasn’t all improvised.
Didn’t matter a bit. From start to finish, his one-man show was a densely packed display of energy, absurdism, audience interaction and controlled chaos. With his long hair, boy-band headset and surfer-dude-by-way-of-Monty-Python accent, Noble turned one table of devoted fanboys into a modest roomful of converts, just as he turned the presence of one audience member’s baked-good snack into a monstrous running gag involving the woman, her friend, her mother, the tacos on another table, his miraculous ability to “feed, like, 100 people with just some nachos” and his status as “some kinda Mexican Jesus.”
Some bits on Madonna, Boba Fett and a brass band providing a peculiar soundtrack to porn were obviously rehearsed, but then it was right back into 10 minutes on imagined tourist groups taking in the Musee JPR venue in all its questionable glory. After all, why bother with jokes when your stream of consciousness leads even you deep into an entertaining unknown?
Filed Under Just For Laughs
2009 marks the year the theoretic stand-up-and-comers gained entry to the same comedic playground as the big kids. Previously schlepped off to the cramped Kola Note, the New Faces sweating out a pair of industry-heavy showcases are housed in the Cabaret Theatre, now sharing lobby space with Musee JPR. For another interesting switcharoo, this year’s hosts Dan Levy and Sugar Sammy are much newer faces in their own right than last year’s Dana Gould and Greg Giraldo, or Tom Papa the year before.
A delayed flight caused me to miss the first half of New Faces 2, particularly regrettable since I was looking forward to revisiting the skewed world of Moshe Kasher, who killed at LA’s Candor Comedy last month and reminds me—a bit unfairly, I confess—of Brent Weinbach. But of the four sets I caught, Rory Scovel deserved the most credit for keeping things light and in the moment. With a thick beard and flannel shirt, his slacker-oriented material was no huge surprise, though lines like “I’ve been trying to quit smoking pot. It’s hard because they keep coming out with those damn 3-D movies,” and the ability to turn a bit about driving on shrooms into a Scientology dig proved there was more to him than mere drug humor. Renee Gauthier spent her time on Boyz II Men karaoke and a gratingly over-the-top dance sequence, while low-key Eric Krug didn’t fully connect until he broke out his idea for MTV pilot “Tupac or Anne Frank?” Dan Ahdoot closed the show strong, however, citing sign language as the most racist language of all and bringing both keen intelligence and personal experience to material that might otherwise be found on the Axis of Evil cutting-room floor. (Sample line: I’m Iranian and Jewish, one of those combinations that goes together like peanut butter and…cat.”)
Later at New Faces 1, first-up Myq Kaplan stole the show early with fast-paced language-play that tackled religion, technology, the dubious legacy of Final Destination and begged for repeat listens. Andy Ritchie had the best lines of the night, quoting a PT Cruiser ad man as asking, “Hey, what if Dick Tracy was a single mom?” and bemoaning of a faulty showerhead, “Every time I want to get clean, I feel like a Civil Rights activist.” To a demonstrator who had once gotten the business end of a firehose, “Yeah, but not every day, first thing in the morning!” Closer and one of Variety‘s 2009 10 Comics to Watch Kumail Nanjiani covered mostly “cheese” (aka heroin) and the Cyclone roller coaster, but his huge likability factor and flair for theatricality sold every moment.
Unfortunately, Alex Kohl’s overly-confident hipsterisms were best saved for PBR keggers; Mike Bridenstine started strong with a withering impression of a certain Zanies owner but lost the crowd with his repeated “Bam! Yer pregant!” fake catchphrase; Chris D’Elia’s impressions of African-Americans, Germans and ex-girlfriends would play best at a ComedySportz; and Last Comic Standing vet Mary Mack’s loopy act was, er, inspired by Maria Bamford’s yet again, only this time in front of an unwitting international crowd.
Filed Under Just For Laughs
No sooner has the US industry-heavy portion of Just For Laughs gotten underway than it experiences its first casualties. The Comedy Conference’s kickoff event, the 10 a.m. Thursday-morning Keynote Address, got the axe, though The Colbert Report head writer Barry Julien’s addition to the “Late Night: In the Writer’s Room” panel managed to swing the scales back a bit. In the past, “The Green Room with Paul Provenza” enjoyed a healthy three-evening midnight run. This year, only two 1 a.m. shows were scheduled, but Thursday’s offering was removed from the schedule Wednesday night; Friday’s show yanked the following morning. And on the Gala front, Wednesday Britcom host John Cleese was replaced by Lewis Black (the Monty Python star has rescheduled for Sunday) after Cleese was diagnosed with an inflamed prostrate gland. Perhaps he pulled something practicing his silly walks?
Filed Under Stand-Up Comedy
One of Steve Martin’s early specials has made it to the web and it gives what is now a pretty rare look at his stand-up. If you were around at the time, your main image of Martin’s stand-up career is his performances for thousands in arenas. Well in the special “Steve Martin’s The Funnier Side of Eastern Canada”, there’s a segment of Martin performing a more intimate venue. You can see it in this clip, which starts at around 3 minutes in.
Wow, can you hear that? Unsweetened, distinct laughter on TV. Those were the days.
If you want to see the whole thing, I’ve put it together as a playlist that you can watch after the jump.
Filed Under Sketch Comedy
Long-awaited by some, including myself, The State finally made it to DVD just yesteday. I can finally throw away the only previous home-video release of The State, the videocassette of “Skits and Stickers”
I haven’t had a chance to pour through the DVD yet, as I just got it. But the sheer amount of material available, including some never before sketches with commentary that hopefully detail a bit of why they were cut, are pretty much all we’ve been asking for for as long as I can remember. If I took this look to do it right, I’m glad they took their time.
Here’s one of my favorite sketches, the State performing a broadcast-television-friendly version of the non-existent play “Tenement.” I think I’ve worn out this particular part of the tape on the aforementioned video cassette:
Oh, the commitment to the raw humanity of William McGuire’s work. If you love this sketch too, MTV has a very nice viral marketing widget that you can use to share it or 26 other sketches (including Porcupine Racetrack) on the Facespace or your Mybook.
Judd Apatow’s upcoming film “Funny People” has a huge viral media blast going on, with a lot of it centered around Aziz Ansari‘s character in the film Raaaaaaaandy, who I always assumed was going to be a lot of what’s wrong with modern stand-up. The latest piece is this faux documentary of the character by Ansari and Jason Woliner, the director and 4th member of Human Giant. Let’s watch, unless you’re at work, because there’s some borderline NSFW stuff here:
Maybe it’s because I know Ansari’s own performing style well or I’m used alt comedians doing incredibly annoying characters as a bit, but I don’t see Raaaaaaaandy the way I’ve assumed I’m supposed to see him. So I don’t really think this is targeting any particular stand-up at all. Because the difficult thing about terrible comedy is that the characters, just like the perpetrators of bad comedy in real life, have to be absolutely sincere that what they do is funny. But, as Raaaaaaaandy might say, this video winks at me like a muthafucka. And Ansari’s just so naturally funny, he actually makes Raaaaaaaandy look like he has some nascent skills.
In the context of the film itself, this may very well play differently. And this isn’t to say, I’m not laughing my dick off at this. Because I am. Particularly at DJ Ol’ Youngin, who does come off completely committed to his shit here. Maybe it’s because I don’t know him outside of this vid is why I absolutely buy it.
The most annoying to me about Raaaaaaaandy is his name and how he spells the damn thing. It should be Rannnnnnnndy. 8ns not 8as!
Mike Sacks’s book “And Here’s the Kicker” is out now. It features over 20 interviews with humorists and comedy writers from the time of the Marx Bros to today. If you’re a comedy nerd, Mike probably talked to one of your favorites.
I can’t praise “And Here’s the Kicker” enough. It treats humor writing as less than a tab A into slot B affair and interviews comedians with intelligence and a level of foreknowledge that keeps it from asking unproductive questions like “where do you get your ideas?” Instead the book grants a sense of how to think like a humor writer, something that’s much more worthy in the long term.
This excerpt from a conversation Sacks has with longtime Simpsons’ comedy writer George Meyer shares some of that insight:
Sacks: You’ve mentioned in the past that some of your best writing is done when you go into sort of a trance. Do you consider writing almost a form of hypnosis, where you lose track of time?
Meyer: Losing track of time is a sure sign that you’re immersed in the joy of the experience. You’re in the state that [psychology professor and author] Mihály Csíkszentmihályi calls “flow.” Actually, I had to be in that state now, just to get his name right. The work you do in this state has grace and ease and resonance. It’s the opposite of what Michael O’Donoghue used to call “sweaty” comedy, when you’ve laboriously squeezed out something tedious, and the effort shows.
When you’re “in the zone,” a joke will just land on you like a butterfly, and only if you scrutinize it later do you see how it came together from disparate elements. Maybe it’s an amalgam of an old half-idea, or something you saw on your way to work, or a strange symbol on someone’s T-shirt. And it happens in an instant. Of course, this state is elusive; it has to be cultivated.
How do you cultivate it?
You have to be prepared. You need basic writing skills, of course, but you also want to have lots of raw ingredients rattling around in your skull: vivid words, strange song lyrics, irritating euphemisms, disastrous experiences that have been bothering you for years. To feed this stockpile, you need to expose yourself to the real world and all its hailstones.
The other essential is humility. You have to be willing to look stupid, to stumble down unproductive paths, and to endure bad afternoons when all your ideas are flat and sterile and derivative. If you don’t take yourself too seriously, you’ll bounce back from these lulls and be ready for the muse’s next visit.
What is it about writing in a group situation that you enjoy? Do you actually prefer this process to writing alone?
Writing solo is lonely and you feel the heat—you want to keep topping yourself. I used to berate myself if I couldn’t think of a killer joke for every spot, but I gradually eased up on that. You can’t keep bitch-slapping your creativity, or it’ll run away and find a new pimp.
That reference to that stockpile comes into play a little later in this excerpt:
Sacks: Jon Vitti, another Simpsons writer, once told The Harvard Crimson, “The physical pain [that] lousy comedy costs George is incredible. You don’t want to be responsible for that.”
It only hurts me if I had a hand in it. I guess I find life so disappointing that I can’t bear to be part of the problem.
Sacks: Are there specific comedic tropes that drive you crazy?
Just material that’s lazy and fake. For instance, when a character has to think of a phony name, sees an ashtray, and then calls herself “Susan Ashtray.” That’s boring. Billy Wilder’s first commandment was “Thou shalt not bore.”
It’s easy to pick up bad habits from watching hackneyed comedy. You’ll find yourself resorting to stock situations, straw men, and hokey resolutions. An artful slice of life, even if it isn’t totally free of editorial contrivance, will inspire you to build your work on the bedrock of reality.