Tag: Piper's Alley
A Clown Car Named Desire
By Brooke Breit, Punam Patel, Mike Kosinski,
|The Second City e.t.c. presents|
|The Absolute Best Friggin’ Time of Your Life|
|Directed by Bill Bungeroth
Musical direction by Jesse Case
The Second City e.t.c., Piper’s Alley, 1608 N. Wells (map)
Open run | Tickets: $22–$27 | more info
Reviewed by Leah A. Zeldes
Second City e.t.c.’s new revue, The Absolute Best Friggin’ Time of Your Life, may not exactly live up to its boastful title, but it’s probably among the funniest times you can have for the price.
Like all such sketch-comedy shows, this one has its upsides and downsides, but when it works, it really clicks, and it works more often than not.
Much more musical than many Second City shows, Friggin’ offers some especially funny songs, delivered by a terrific cast who knows how to use their voices, backed by capable music director Jesse Case.
Beginning with a musical tribute to the "Good Old Days," the running joke of the revue, is a look back to the supposedly better days of the past — which seem to be the late 1990s, though few actual historical events are mentioned beyond general references to full employment, budget surpluses and no wars. That gives them ample scope to skewer the present, however. Christina Anthony, Beth Melewski and Mary Sohn, clad in stretch pants showing ample curves, take on the country’s idiotic "war on obesity" with a defiant song and dance on the joys of being "Rubenesque" that had nearly every woman in the audience cheering. Tom Flanigan is sidesplitting as a scat singer crooning to a group of dull-witted Tea Partiers. And Tim Baltz dramatically captures the all-encompassing and irrational rage of Obama haters in an office sketch.
Very little effort has gone into making this comedy politically balanced — the few digs at Dems are far outweighed by the arrows aimed at the increasingly easy targets of the right wing. I’m not sure this show would play so well in outside a liberal stronghold, but the Chicago audience ate it up. (Has any previous sitting administration ever been so lightly treated by comedians because their opponents made so much more compelling butts?)
A few skits don’t deliver, such as one in which Flanigan and Anthony play a race-reversed doctor and nurse — beyond the initial surprise when you realize the white guy is playing a black man, there’s not much there.
The evening culminates with an overlong skit in which Brendan Jennings, wonderfully expressive throughout, time travels to his high-school prom with an audience volunteer. Jennings carries it off impressively, but the jokes don’t match the premise of a nerd who regrets having skipped the dance in the first place, and I imagine much depends on how well the volunteer plays up.
Overall, though, Director Bill Bungeroth has given us a fast-paced and hilarious look at those times that, for many of us, have been the worst of our lives.
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.
The Second City at 50: Good for what ails you
The Second City presents
Taming of the Flu
reviewed by Leah A. Zeldes
They may be 50 years old, but The Second City can still bring up some healthy laughs.
Most of us won’t get to go to The Second City’s big 50th anniversary celebration with its famous alumni this weekend — many events are sold out — but the troupe’s latter-day regulars do their predecessors proud with their anniversary mainstage revue, Taming of the Flu.
This is the kind of infectious comedy that made The Second City famous: Fast-paced, creative, topical, hilarious.
There are gags about swine flu*, of course, and health-care reform, with some needle-sharp jabs at insurance companies and politicians of all stripes. Some subtly and not-so-subtly humorous routines point up racial issues, the economic meltdown, war, terrorism and the other ills of our time.
Modern life gets its jibes, from the guy who’s addicted to his iPhone to the football player who taunts his opponents with Harry Potterisms to lesbian bachelorettes. In an anniversary mood, they look back over 50 years, comparing teenagers from 1959, ’79 and revisiting a 1950s bomb shelter.
Best of all are the Chicago-centric gags. Maybe it’s a return to The Second City’s roots or maybe it’s just that during this chilly and cash-strapped season they figure they don’t have to play to the tourists, but some of the best bits in this revue aim straight at the home crowd with nary any translation — such as a poignant paean to Chicago winters, lawn chairs and all. Chicago cops. Red-light cameras. The Olympics. Indiana casinos. Aldermanic candidates. A sidesplitting sketch covers local cabbies’ recent call for fare hikes.
As with all revues, some sketches are funnier than others, but the jokes roll out nonstop, fast as sneezes. The six ensemble members keep ’em coming with feverish timing, dead-on expression and keen comic gestalt.
Compared to Tamiflu, laughter may not be the best medicine, but I defy anyone to leave this show not feeling better than when he went in. If it doesn’t cure what ails you,* at least you’ll forget your suffering for a while.
Notes: The Second City ticket prices are due to rise Jan. 1 to a minimum of $22 for general-admission seats and up to $46 for a new class of "premium" seats. Parking in the Piper’s Alley garage is $1 off with validation at the box office.
* Chicago Theater Blog does not advocate going to the theater while suffering with H1N1 flu or any other contagious disease. Fortunately, this show is in open run. Please stay home until after you have completely recovered, if only for the sake of any critics who may be in the audience. Gesundheit.