SECOND CITY ETC'S FANTASTIC SUPER GREAT NATION NUMERO UNO: A Must See

One of the things I love about being on Second City's press list is that I often get invited to premieres when I most need a laugh. (Plus, I also get to publicly disclose that I receive free tickets, but this review is strictly my own).

Wanting to avoid the Grand Coronation, er, I mean, the Inauguration last week, I decided to kick it off by attending the opening of Second City ETC's Fantastic Super Great Nation Numero Uno...and I'm really glad that I did.

Because it's one of the smartest, sharpest, and funniest reviews that Second City's put on.

Much like Winner of Our Discontent, the Second City ETC revue focuses on relations, race, and diversity in our modern times. Although Winner of Our Discontent tackles issues about race relations, Fantastic Super Great Nation Numero Uno does it from more diverse perspectives....

For example, a song describing the plight of "Undercover Indians"....

...or a scene on a boat with two people who don't speak English, yet who manage to convey a wide variety of emotions....

...or an interactive skit with a bilingual audience member.

Although some may feel that Second City is being too politically correct with its signs admonishing against "hate speech", the long-standing improv troupe is backing its philosophy with action. Fantastic Super Great Nation Numero Uno provides many of the usual pieces of satirical fare that Second City is known for, including a metaphorical skit about a Kraken, a couple who take the idea of "work wife" to a ridiculous extreme, a Cubs fan who wakes up from a post-World Series Hangover...

...and some new euphemisms, including "yogurt cannon" and "baby vending machine."

One of the themes of Second City ETC's Fantastic Super Great Nation Numero Uno is "humor in humanity", and this particular revue revels in that. Much like Winner of Our Discontent, this revue provides a very diverse cast that makes a wide array of points, and it never feels preachy.

If you're looking for motivation to check out Second City, you definitely should catch Fantastic Super Great Nation Numero Uno. At a time when the world outside seems to be going insane, this revue will provide some great moments of sanity and insight.

Go see this. Now. You'll thank me later.

Second City's WINNER OF OUR DISCONTENT: A Review

Let's be totally honest - if you supported Donald Trump in November, you're probably not going to enjoy some of the sketches in Second City's latest review, The Winner of Our Discontent.

For the rest of us, don't worry - this Second City revue is not only one of their funniest revues, but it's also one of their more insightful productions that really strikes at the heart of how people are feeling...and processing...the events of the past year.

Now, if you are expecting particularly partisan sketches, well....there are a few moments. But many sketches in Second City's Winner of Our Discontent really strike at the heart of how many people are feeling. Everything from a son asking his mother not to smoke pot on her porch because they're "In Lake Forest, not Lombard" to a person frustrated at a bass player showing up in her dying mother's hospital room speaks to a general commentary on how some things seem off place, yet somehow gel.

Or as a quote from one sketch suggests, "Some things were meant to be broken."

Several sketches turn on a basic wish to be safe, to be secure, like the three African-American cast members "magically" becoming Caucasian, with additional complications. (There's no way I can do justice to the sketch - it deserves to be seen). Another focuses on a unique driver's education instructor and her effect on her students. You could state that Second City's Winner of Our Discontent has the unique claim of being both funny and compassionate, reassuring its audience as it ventures forth to explore that sense of disconnection.

My personal highlight was a monologue discussing the wish to go to "Black Heaven", where "Prince is Jesus". (I'm not making this up, nor am I going to try to quote the rest - it's best experienced live). It was one of the most touching, insightful, and flat-out funny monologues I've ever seen in years. (And you're reading the blog from a man who saw the Kids in the Hall live in the studio and onstage). Even towards the end, when another monologue states that we "lost a lot", the revue strikes on that feeling of disconnection and disappointment...and allows us the best revenge...by laughing at it.

Second City's The Winner of Our Discontent revue is a masterpiece: well-written, well-performed, and with insight and energy to spare.

At the end of the revue (right before the "unscripted third act), several brave souls - including myself - gave the troupe a standing ovation...because they deserved it.

Check out Second City's The Winner of Our Discontent, and you'll come to the same conclusion.

Review: I AM CHRIS FARLEY

So this past Monday night, I was fortunate enough to be invited to a special screening at Second City (it pays to be on their press list, you know) of I Am Chris Farley, a documentary to be featured as part of August 10th's "Chris Farley Day" on Spike TV. So I attended with my date for the evening, and enjoyed a fine, fine piece of work.

(The documentary, that is - I would never, ever refer to a woman as a "piece of work". And apologize for the slight innuendo)

I have to admit - I wasn't a fan of Chris Farley's work: I found much of Saturday Night Live during that period a bit tedious, and quit watching. However, I Am Chris Farley takes a completely opposite tack: instead of focusing on his comedic career, it focuses on Farley as a human being, and made me want to do something I thought I would never do - go out and watch Tommy Boy.

Although the movie is similar to other films - a mix of vintage footage, home movies, and talking head interviews - I Am Chris Farley takes a much different approach to the subject matter. Yes, there are the requisite clips of past humor, but it's the tone of the film - seeing Farley as a human being driven to entertain - that gives it a life and presence that other, similar documentaries may lack. There's a great thread of warmth about Farley, even in the midst of revelations around his substance use (some participants claim Farley was in drug rehab seventeen times), and there's never a sense of exploitation about Farley.

(Although I still say that David Spade hasn't quite redeemed himself for this example of poor taste).

Granted, Spike TV may not be my kind of channel, but between this film and their earlier entry on Bruce Lee, they're showing exquisite taste and insight in their subjects. I Am Chris Farley will be shown on August 10th on Spike TV - if you have cable, be sure to catch it. If you don't, you might consider one of the more....esoteric ways of acquiring content, even if it means waiting for the inevitable DVD/streaming release. (Because my audience would never pirate things...nor would they admit that publicly).

As for me, the one thing I will admit publicly....is that I'm going to watch Tommy Boy again. If I Am Chris Farley gave me a new perspective on Chris Farley the man....the least I can do is revisit his work.

I Am Chris Farley celebrates the man's life, as well as provides a great opportunity for reevaluating his work. It's a must-watch.

Second City ETC's SOUL BROTHER, WHERE ART THOU?

Yes, it was my pre-C2E2 indulgence; thanks to a set of complimentary tickets (I'm on their press list, you know), I caught the latest production from Second City ETC - a little something called Soul Brother, Where Art Thou?

And in short, it's a pretty good revue - the first half is a bit iffy, but the second half knocks it out of the ball park.

To be fair, the first half was spoiled somewhat by the gentleman sitting in front of me who spilled a beer on my leg....but thanks to napkins, that was alleviated. Many of the skits in the first half of Soul Brother suffered a bit from being....well, a bit dated. However, some of the Ferguson-themed jokes - including one featuring two characters from Disneyland - will probably have stronger resonance with the recent events in Baltimore. And that's one of the primary strengths of this particular revue: a greater commitment to exploring racial issues as well as the usual themes of a Second City revue.

But it's the second half that stands out, with several bits that absolutely kill. Part of it is the ingenious use of video (especially during "I Will Follow You", a sketch that integrates social media, video, and music into a moment that simultaneously frightens & enlightens). Another skit is a silent movie pastiche that leads into....well, it's surprising, it's sudden, and feels immediate. Some are even rather clever - a teleportation gag seems to go awry. And the revue ends as it began - with a woman clutching a bomb that's ready to go off.

That's one of the more endearing qualities of Soul Brother, Where Art Thou? - a willingness to head towards the edge. Even in its weaker moments, there's a great sense of daring in the material. It straddles the edge of propriety, daring to move further and into more extreme territory.

Go see this. You'll thank me later.

Second City's DEPRAVED NEW WORLD - Review

"The world is so full of voices,
why are so many in my head?"

I'm always enthusiastic about attending a Second City revue, so being invited to attend a performance was not a tough decision. When I received a complimentary pass for Depraved New World (102nd in a series - collect them all!), it was simply a matter of clearing my evening....and I'm glad I did. Depraved New World is not only funny, but is surprisingly inventive in extremely subtle ways.

Much of the revue's focus (as "spoiled" in the introductory song) is about the split between what we're thinking and how we're acting....and the first sketch plays out the obvious. (People in an office discussed upcoming birthdays, and cast members announce "hidden" thoughts accompanied by dramatic changes in lighting). But from there, the material grows increasingly riskier...and comfortable in taking those risks. Lines of dialogue like

"That's a great tan!"
"No, actually, I'm black"

might easily have been overplayed, but the troupe has such ease with the material, it never comes across as forced or overt.

(In fact, my favorite sketch of the evening centers around the phrase "firefighter orgy"...and I'm willing to risk ending up high in Google search ranking around the phrase "firefighter orgy".)

From women encouraging their peers to "don't date a douche" to men embracing their self-esteem; from youthful escapades around YouTube and horses, Depraved New World provides moments of genuine surprise. Even during the "audience participation"-driven second half, troupe members manage to weave comic gold. Out of one audience member responded "pizza" when asked what they ate, troupe member Tawny Newsome provided rapid-fire monologue which had a perfectly scripted feel without any blank space. As another audience member provided minimal cues, both Mike Kosinski and Chelsea Devantez managed to wring further laughs for an admittedly tough situation. If improvisation is the creation of moments from random ideas, the Depraved New World troupe manages to create solid moments of humor and make it look effortless.

What makes the production especially noteworthy is that there is an inventiveness in timing with both lighting and music. Dramatic lighting cues help foster a strong sense of pace - in fact, one sketch involves sudden stop-starts with lighting that could have easily failed, yet managed to highlight the humor of the piece. Even sound and music play a key role - two of the sketches are silent, focusing more on music, dance and performance; a third (with Ms. Newsome and Steve Waltien) deftly mixes live performance and lip sync in a perfectly-timed meditation on relationships. Much like the troupe, the overall production is a high performer, and never misses its mark.

Depraved New World is more than just another Second City revue - it's an imaginative, inventive exploration around the dichotomy between our inner and outer lives. It's also a must-see experience.
Trust me - it's that good.

Second City ETC Rides A CLOWN CAR NAMED DESIRE

(Special thanks to Second City for providing complimentary admission to this show)

Sometimes, there's a fine line that blurs reality and dreams, of wondering whether this is as good as it gets or does it get better.

It's with that preliminary question that Second City ETC's 37th revue, A Clown Car Named Desire, goes into full gear, delivering some great scenes and - well, let's face it, some easily-earned laughs.

From hipsters to mismatched friends, from a Tron-inspired dance routine to a sketch namechecking the Notre Dame football player "Mandy Patinkin", A Clown Car Named Desire is a very well-rounded, super-sharp show...in fact, this is one of the few times at Second City that I never thought, "Hmm, which one of these cast members is due for bigger and better things?"

(Only because the entire ensemble does such a great job throughout the evening, it's hard to pick out one person and say they have "that thing." Of course, had the tall blonde cast member pointed to me when she sang, "I'll make out with you after the show"...I might be writing a different kind of blog post. But it's safe to say - singling out one person out of a stellar cast is unfair and really unnecessary).

And you may wonder what the difference is between Second City and Second City ETC (which is where this revue is running). Rather than give you a long, lengthy explanation, let me point you to this brief snippet from their FAQ page).

It's rather difficult to find a Second City revue that doesn't hit on all cylinders - most of the time, a revue has much that works, and some sketches that don't. However, A Clown Car Named Desire manages to fire on all cylinders, providing a nice, lengthy ride full of laughs, and is much more enjoyable than a Cubs or Sox game.

And yes, there is the obligatory Tennessee Williams joke...but A Clown Car Named Desire is one of the highlights of Chicago theater, and well worth your time.

We're All In This Second City Together

(Full Disclosure - as part of Second City's media list, I received complimentary tickets for a special press premiere. Show formally opens on 7/1)

"Our jobs kick your jobs' ass!"

So it's the hottest day of the year - the first time Chicago temperatures broke 100 degrees in seven years. The kind of day which is best spent staying in an air-conditioned home consuming large quantities of chilled, non-alcoholic fluids.

However, this past Thursday evening I spent attending a special premiere of We're All In This Room Together, the latest revue from in Second City's ETC theater....and quite frankly, it was a great way to spend an evening.

It's also one of the more intriguingly staged productions - sketches "rewind" and provide different options and outcomes. There's much more audience engagement and "playing" in this revue. That's what makes this much more enjoyable and perhaps even fosters a desire to return, with the performances top-notch and a strong sense of playful exploration. It's one of the few times

Sketches focus on various levels of connection and disconnection, ranging from a country singer and her "all ex-husband" band to a man trying to get his child into U of C Lab School; from a couple cruising in a Ferrari in the 1980s to a debate between two candidates for city councilman. This is one of the more "physical" revues as well, with the cast energetically throwing themselves into their performance, avoiding what could easily be a sit-down-and-be-funny performance.

We Are All in This Room Together is one of the more successful ETC reviews because it is so intimate. It cuts straight to the heart, has a great deal of wit, and is mandatory viewing.

Go see this. You'll thank me later.

UP for SEX, LOVE & THE SECOND CITY

One of the cool things about being one of Second City's media contacts is that I get to see premieres (thanks to complimentary tickets) of some extremely cool shows, and then blog about them. Last night, I had another cool experience...or more precisely, a revisit with a new great place.

Second City has just opened the Up! Comedy club, located on the third floor of Piper's Alley, and although I have a picture of it on the left, photos do not do it justice. (My first experience at the club was for a taping of Chicago Live! last week). Spacious with just a hint of elegance, it's the kind of casual club experience we all want, but never seem to get. Thankfully, Up delivers on that count.

It also helps that I attended the premiere of  Sex, Love, and the Second City, a breathtaking set of sketches focusing on love and romance in the digital age. In many ways, this show feels like the troupe is building the future of Second City - integrating video and other media to create a lively, engaging, flat-out funny improv experience.

Separated by pre-recorded bits by Fred Willard (and others), Sex's material focuses on the challenges of finding love and romance in our iPhone/iPad/iLove era, focusing on a slightly dysfunctional couple, and two slightly nerdy individuals who are just having trouble making connections. Unlike several examples in popular culture, these are less a comedy writer's take on these individuals and more of a full-blooded approach to building out people you feel for...and care about. (Big Bang Theory, you might want to send your writers to attend and take notes).

There's a daring quality to these sketches, both in terms of content (some are definitely adult-themed), and in terms of performance. Although it would have been easy to let the Willard pieces dominate (with such lines about "an all-male version of The Vagina Monologues" and "weirder than a Mormon in Vegas"), the cast - Carisa Barreca, Jimmy Carlson, Amanda Blake Davis, and Ed Kross - handle themselves expertly; so much so that during one call-and-response sequence with a Willard segment, the timing was incredibly precise and spot-on.

(Side note - although I couldn't keep my eyes of Ms. Barreca for, well, less than noble reasons, I find a sense of deja vu with Mr. Kross. After doing some Googling, it turns out I had seen him before....playing Zeppo in Goodman's production of Animal Crackers. I only say this in order to demonstrate my own growing admiration and fascination for the Chicago theater scene).

In short, a sharply written revue, a wonderful modern venue...what else do you need?

Make plans. Clear your calendar. See this show.

Visiting the South Side of Heaven at Second City

As many of you know, I'm fortunate enough to receive an invitation to view a premiere of a Second City revue, and then I have the opportunity to write about it. (It helps them get the word out, and quite frankly, I have a pretty good time). I always manage to attend these revues with an open mind, and South Side of Heaven - the 99th revue, was no different.

I have to admit that my initial reaction is that South Side of Heaven is a little disturbing...but the good kind of disturbing.

In terms of structure and content, this is a revue that pushes at boundaries and handles some really complicated, uncomfortable issues - around race, sex, and the ultimate boundary: Cubs vs. Sox. But it's also one of the more intellectually challenging revues as well, since one or two of the sketches involve a little bit more thought in terms of how they proceed. (One actually seemed like it was a dream sequence towards the end).

In short, this is actually one of the more enjoyable revues that Second City has put on - it shows that there's a real willingness to improvise even within its own sketch form. And quite frankly, it's a show that is a little unsettling, but mostly in its striving to remain inventive and daring. And that's quite frankly what makes it thoroughly enjoyable. What appears to be a pre-show interview during a tech glitch, for example, turns into a key audience participation moment in the middle of a sketch. This revue's set of players - Edgar Blackmon, Tim Robinson, Holly Laurent, Katie Rich, Timothy Edward Mason, and Sam Richardson - are like the Bulls in their 1990s prime: a team that plays well, but more importantly - plays well together.

What's also great are some of the lines that come from the performer's mouths. There's a palpable sense of joy in saying things which should not be said. (There's even one sketch that involves Tim Robinson doing unspeakable things to a Chipotle burrito, and which needs to be seen to be believed). Some other lines which I hastily scribbled into my Picadilly notebook:

• The '90s aren't vintage - they're just gross
• I teach mandolin on YouTube
• ...at the truck stop giving handies and mouthies
• Benzos - thumbs up!
• I don't like that a word of theirs is a word only half of us can say....
• Normally we kill our animals at the Lincoln Park Zoo

In short, this is another must-see revue. And you might want to see it sooner rather than later - because since it's now nominated for a Jeff Award, it may mean that tickets might be a little harder to come by.

Make time for this one. Definitely worth it.

(And the biggest surprise to me came earlier in the night - I ended up at their etc theater by mistake, and noticed some familiar words at their door. Probably the greatest "thank you" gift I've ever received)

An Aptly Named Second City ETC Revue

(Note - a complimentary ticket and press kit were provided by Second City for purposes of review. I also have a good working relationship with one of the producers).

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...the time ahead is the only thing we really own

It's hard to believe that it's been one year since Second City ETC's Studs Terkel's Hardly Working hit the stage. Much has changed over the past year - the passage of health care, the rise of the Tea Party, and the challenge of doing sharp, satirical comedy would be difficult.

However, I am glad to announce that Second City ETC's latest offering, The Absolute Best Friggin' Time of Your Life, is an aptly named revue - quite simply, this is definitely a show you should not miss.

Much of the success of the show is that the energy quotient is much higher - drum beats help break up the blackout sketches, and really set the stage for a really powerful show. Much of the premise (without spoiling) is simple - that we now are looking back at a "magical time when the '80s became the '90s"...but more importantly, the keystone lies a quote from a song, which creates an excellent context for sketches....

...and hoo, boy, there is some seriously funny - and edgy - material in this revue. Smart, witty, and at times flat-out daring, sketches are the usual mix of obvious pop-culture touchstones with a slight dash of daring that really makes this a show to see. Sketches include:

• Several take-offs on the Tea Party, especially one where a gentleman is reminded, "This is not a breast exam - it's voting"
• A hip-hop number entitled "Rubenesque", performed by the three female leads (see right)
• Tea Party protestors receive insight from an unusual source;
• An eerie fascination with honey baked ham;
• A DJ whose patter is stringing song titles together;
• A troupe member gets to revisit his senior prom, and
• A sketch with Tom Flanigan and Christina Anthony that will definitely hit a strong racial nerve...but is probably one of the highlights of the revue.

Absolute Friggin Time shares some cast members with last year's Hardly Working -  notably Christine Anthony, Beth Melewski, and Tom Flanigan - who manage to maintain a high level of energy. It provides the newer cast members like Tim Baltz (he of the Hugh Laurie-esque hangdog face who can deliver a line like "I would bring you Gatorade in a water bottle" with deadpan perfection), Mary Sohn (who brings a really great energy and attitude to the group), and Brendan Jennings (whose improvisational daring is, well, quite wonderful to behold) the opportunity to play catchup. In the end, it is much like watching the Chicago Bulls in their 90s glory: a team which constantly pushed themselves - and each other - to greater heights.

In short, if you're in Chicago in the next few months, make a point of coming to see this show. It's one of the funniest, most insightful Second City revues that really live up to the troupe's reputation.

Second City is primarily known for incubating great talent who then graduate onto bigger and better things. The ultimate compliment I can pay...is that this troupe is at the top of their form. Sharp writing, sharper performances, incredible energy....I cannot recommend this enthusiastically enough.

Go. See it. Now.

Rush Limbaugh - The Musical!

(Full Disclosure – Complimentary tickets and other media materials were provided for me to attend this show and write this blog post.  All photos are copyright Second City, and are used with permission. So thanks to Second City for the opportunity to attend an opening night performance)

I have to admit, I love political satire, especially in light of having recently read David Bianculli’s book about the Smothers Brothers. (About which I've formally blogged about here) So when I was invited to attend the premiere of Second City’s new review, Rush Limbaugh – The Musical, I eagerly cleared my schedule and prepared, even so far as to invite a fellow Chicago blogger to accompany me. At the very least, I was looking forward to an evening of laughter and enjoyment.
But all in all, Rush Limbaugh – The Musical! is a rather mixed bag, with sharply biting commentary mixed in with some moments that lack a satirical spark.

My personal favorite highlight of the revue was Karla Beard as Shasta, Limbaugh’s right hand woman/Greek chorus/narrator. She not only was able to keep the energy level of the revue high, Ms. Beard also performed several show stopping numbers. In short – the woman has one powerful voice, giving the songs a greater lyrical and satirical weight.  The rest of the troupe – Mark Sutton (as Mr. Limbaugh),  Bumper Carroll, Cayne Collier, Colleen Murray, and Kevin Sciretta- performs admirably, bringing a great energy to the proceedings.

Some of the highlights from the show include a tuneful yet profanity-laden ditty describing the major problem with the Democratic Party. (Although, in fairness, 80% of the jokes are at the Republican Party’s expense).  Another personal highlight was  a calypso-influenced love song to Oxycontin. My personal favorite (which my fellow blogger disliked) was the portrayal of Rumsfeld and Rove as an Abbott and Costello-style comedy duo.) A medley of Limbaugh’s “greatest hits” – things he actually said – provided a solid moment of using Limbaugh’s own words against him.

However, there were some moments which simply seemed to have the audiences gasping in astonishment rather than rollicking in laughter.  It is a thin line – we are dealing with a person (and group) who seem to have no sense of shame, and sometimes, one does not know the lines of propriety until they cross them.  I believe that anything can be joked about, provided the comedian is clever enough to find a riff. (See: Carlin, George). However, a scene involving jokes around September 11^th felt awkward, as if it had been “too soon” after the event.  Plus, a moment where Rush calls our president “Halfrican American” – although potentially funny – sank like a stone.

A few other aspects of the show also seemed a little awkward. For example, a bit involving Barney Frank (Kevin Sciretta) making a sexual innuendo was funny once…but after the fifth time, didn’t seem to work well. In addition, as the revue approached the end, there seemed to be moments where it seemed to end…but it kept going. And although the “third act” (taking place in Rush’s future) may have been good for Rush’s arc…it just seemed a little too much. Granted, this was an opening night show, meaning that some kinks may be worked out as the revue progresses.
 
So my take on Rush Limbaugh – the Musical:  definitely not as strong as Studs Terkel’s Not Working, but an overall pleasurable experience. Definitely worth checking out with a group of friends…but expect some moments that may not satisfy. If for nothing else, see it for Ms. Beard’s performance.