Tag: Matt Hovde
Who Do We Think We Are?
By Mary Sohn, Katie Rich, Edgar Blackmon,
Sky’s the Limit
Written/performed by Tim Baltz, Aidy Bryant, Brendan Jennings, Jessica Joy, Michael Lehrer and Mary Sohn
Check for half-price tickets
Spoiler Alert: It’s Good.
|Second City presents|
|Spoiler Alert: Everybody Dies|
|directed by Matt Hovde
at Second City, 1616 N. Wells (map)
through October 31st | tickets: $22-$27 | more info
reviewed by Keith Ecker
When I see a Second City revue, I watch it through two different lenses.
The first is the comedian. I’m a former Second City student, and I’ve done my share of stand-up, sketch and improv comedy around the city. So I can see the gears in motion as the actors are on stage. I know what reads as hokey, and I can spot a pot shot. But I can also identify what improv guru Del Close termed “truth in comedy,” that is the genuineness behind the joke.
The other filter is the audience member. There’s nothing less funny than deconstructing a joke, so I have to allow myself to sit back, pull the stick from out of my butt and enjoy the show. Besides, Second City gets a wide spectrum of attendees, from talent scouts looking for the next star to Schaumburgers.
Too hokey and you’ll trip my comedian sensor. Too self-aware and you’ll trip my audience sensor. Fortunately, Spoiler Alert: Everybody Dies strikes a near perfect harmony.
At the show’s opening, a red button sits on stage. A push from a brave audience member gets things going. We witness a human machine and are told through voice over that at the end of the show everybody dies. What ensues is a well-staged and masterfully executed montage of brief scenes depicting actions and consequences that result in various people’s deaths.
We then go into sketch mode. It’s a father/son scene. The son (the expressive Tim Robinson) is getting cold feet at his wedding. His dad (Tim Mason) attempts to convince him of the wonders of marriage, specifically the benefit of being able to use your wife’s brain to remember things you can’t. The sketch relies a little too much on stereotypical representations of Neanderthal men, but it has its moments.
Next there’s an ensemble song about people who skim the news, illustrating that a little knowledge is a dangerous thing. Later, there’s a cute bit about a matching sweatpants-wearing couple (Robinson and Shelly Gossman) who are an embarrassment to their Michael Jackson-loving daughter (Emily Wilson).
The best sketch of the bunch is a bit where one employee (Robinson) hems and haws when breaking the bad news that his co-worker (Gossman) is being laid off. The sketch works because it’s simple—just two talking heads—that are sharing a real genuine connection. Also, Robinson’s antics and inflections are so hilarious that he even cracks himself up.
Second City sketch revues by their nature must be fast-paced. The moment the energy drops in the room, you risk losing your audience. Director Matt Hovde manages to keep the show flowing even in scenes that stew a bit more, such as the heavier sketch about a woman (Grossman) who comes to terms with being an asshole after berating a man (Mason) who just lost his son.
The ensemble works well together, and there certainly are some standouts. It’s no surprise that Gossman was recently tapped to head East and write for “Saturday Night Live”. I wouldn’t be surprised if Robinson is on deck.
The one major criticism I have for the show is its antiquated reliance on racial jokes. Nearly every sketch with Edgar Blackmon (who was filling in for cast regular Sam Richardson) relied in part on the fact that he is black. True, nobody is colorblind when it comes to race. It’s an important and unavoidable element of our society. But when you beat it into the ground with every sketch with a black actor, you start feeling a bit uneasy—especially when the audience is almost entirely white.
Overall, whether you come from the entertainment industry or from Indiana, you’ll walk away laughing from Spoiler Alert.
It Ain’t Over ‘Til the Fat Pundit Sings
Second City e.t.c. presents
Rush Limbaugh! The Musical
review by Keith Ecker
There’s an irony in juxtaposing Rush—the arena rock trio of Canadians who helped forge the musical genre known as progressive rock—with Rush Limbaugh—the overzealous, portly megalomaniac who helped forge the political movement known as neo-conservatism. This is the kind of sharp wit and pop-culture referencing that Second City’s newest play, Rush Limbaugh! The Musical, relies upon to penetrate through the mess that is today’s political landscape.
And just what is the topography of this landscape? Politicians and pundits have made careers out of capitalizing on fear, hate and anger. Religion is in the pocket of the self-proclaimed righteous who corrupt and manipulate their follower’s belief systems for their own gain. The two-party system gives voters a choice of crap and diet crap. All these are themes found in Rush Limbaugh, which at its greatest moments steps out from behind its satirical shield to reveal a genuinely pissed-off group of performers.
The musical focuses on the rise of Rush Limbaugh (Mark Sutton), from his humble beginnings as a rich hippie-hating nitwit in the 1960s to the mouthpiece for the evangelical Christian conservative movement.
Our tour guide on this journey is a woman with a Caribbean accent named Shasta (Karla L. Beard). She punctuates the play with parodies of Rush songs about Rush Limbaugh. While Rush is still young and floundering, Reverend Rightwing (Cayne Collier) steps in to help give the budding radio star a boost. The two forge a mutually beneficial relationship where Rush will use his own brand of Christian lunacy to win new converts to his radio show. Soon Rush becomes a voice to be reckoned with, successfully helping take down Bill Clinton. It is then that he’s on top of the world, ushering in a new Republican world order with the election of George W. Bush.
Donald Rumsfeld (also played by Collier) and Karl Rove (Bumper Carroll) make appearances as a bumbling Abbott and Costello duo while evil Anne Coulter (Colleen Murray) lurks in the shadows. There’s also a subplot involving Hillary Clinton (Murray) and Barney Frank (Kevin Sciretta), who serve as the weak, impotent voice of the left.
The acting is superb. Mark Sutton can muster up a vicious growl and a penetrating scowl on command. When he performs the on-air scenes in the makeshift radio booth, he really captures the despicable glee that the real Rush infuses into his racist diatribes, such as “How do you starve a black man? You hide his food stamps under his work boots.” But despite how wicked Sutton’s Rush might come off, you can’t resist watching him.
The supporting cast is rock solid. Beard has a voice on her that shines on the parody of the Dreamgirls tune “And I’m Telling You,” in which her character tells Rush that she’ll stay by his side even after the neo-conservative movement begins to lose steam. Murray successfully pulls off double duty as the weasely Anne Coulter and the manic Hillary Clinton, while Sciretta does a dead-on Barney Frank impression.
Overall, the writing (care of Ed Furman who also wrote Rod Blagojevich Superstar!) is strong. However, there are some terrible groaners that fall flat near the top of the play. The biggest flaw, though, are the Barney Frank lines, which amount to boring and trite homophobic comedy. It was strange to see these childish references to gay sex in a show that otherwise believed in the intelligence of the audience.
TJ Shanoff, who also worked on Rod Blagojevich Superstar!, wrote the music and lyrics, which are outstanding. From the Democrats shouting in punk rock fashion about how “fucked” their party is to Rush singing the praises of Oxycontin, the songs are deeply funny and veer away from obvious rhyme schemes that would normally spoil the joke.
Rush Limbaugh! The Musical is a political treatise told through musical comedy. Despite some base material that would be better left out of the play, you’ll find a lot of smart jokes to laugh at…unless you’re a Republican, in which case you might have been better off seeing the Rod Blagojevich production.
Rush Limbaugh! The Musical at The Second City e.t.c. (1608 North Wells in Piper’s Alley, Chicago). previews Sunday, January 31, 2010 at 2:00pm, opening on Wednesday, February 3, 2010 at 8:30pm and will run Tuesdays and Wednesdays at 8:30pm and Sundays at 2:00pm until March 24, 2010 at The Second City e.t.c.
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