“The Planetary Defense Force in: Crisis on Planet Earth!” provides the slimmest of sci-fi narrative trappings within which to showcase an evening of the casually costumed cast challenging select audience members. The challenge is a modified version of dodgeball. Rounds of this tournament are presented as a series of missions the Defense Force mounts against an evil cadre of interstellar schemers. Among the schemers: an affected and comically caped Brit and the timeless scourge known throughout the galaxy as an attorney. The Planetary Defense Force team members play on the side of the audience participants, and rules change as the matches roll on. Read the rest of this entry »
Five or ten minutes into “Period Piece,” I had nearly resigned myself to a show with little but its heart in the right place. Then, quite noticeably and suddenly, everything else clicked into place and I was off on a spirited, intelligent and emotionally true journey through time on a rather red river of hilarity.
Our hero Tammy DuPont has placed about as many pharmacological, intellectual and emotional dams between her and her monthly magic as playwrights Jenni Lamb and Lisa Linke have placed slang menstruation terms into this frequently uproarious script. A disastrous pitch to her longtime client from Forever Feminine hygiene products, the resultant falling out with her business partner and a surprise visit from her Aunt Flo (oh, that bothersome flow) conspire to force high-powered ad-exec Tammy to rethink her bitter, dismissive attitude about her period. The catalyst for this change of heart is a family heirloom gifted by Aunt Flo: a magical sanitary napkin belt which thrusts Tammy back and forth through time. On several stops through both world and DuPont family history (which generally intersect) Tammy confronts ridiculous, debunked “expertise” on women’s health, sexist doctrine on a woman’s place and her own unresolved feelings of personal loss and shame which are increasingly revealed to be the source of her views on menstruation. Read the rest of this entry »
“You don’t have to be smart to laugh at farts,” Louis C.K. sagely explained in one of his many oft-quoted interviews, “But you have to be stupid not to.” The ensemble of “Cupid Has a Heart On”—which has been consistently running for more than a decade (making it the longest-running sketch comedy show in Chicago history)—would certainly agree. But while most of the humor in here is decidedly lowbrow (one memorable punchline is literally “poop poop poop poop”), it’s also consistently laugh-out-loud funny. If you measure the success of a comedy show by setting up some kind of hits-to-misses ratio, rest assured that “Cupid’s” arrows solidly hit their marks much more often than not. Read the rest of this entry »
One of the earliest educational video games—“The Oregon Trail”—crosses paths with one of the earliest forms of entertainment—nearly naked ladies shaking it—in Gorilla Tango Burlesque’s latest collision of geek culture and burlesque. An enjoyable show and possibly a wish fulfilled for gaming nostalgists, “The Oregon Tail Burlesque: You Have Died of Sexy” may be about the most unlikely such mash-up you’re going to see—and it has a lot of potential. Read the rest of this entry »
I would never wish ill upon great women of history Joan of Arc, Amelia Earhart and America’s beloved Jacqueline Kennedy Onassis. Nonetheless, I am glad they all died so I could enjoy their comedic gifts as presented from beyond the grave in “Dead Broads Yapping.”
Staged as a talk show from the afterlife, the evening’s hour provides the talented trio of Courtney Crary (the martyr), Caroline Nash (the aviatrix) and Marie Maloney (the First Lady) in a setting, à la “The View,” in which to dish and riff on current events and historical happenings as well as chat it up with other legends.
The show’s “producer” and our twenty-sixth president Theodore Roosevelt introduces the ladies and interjects throughout with frequently ribald asides. Taking breaks from the winning interplay between them, Teddy and the three Dead Broads each get a solo segment. The most successful of these, featuring fashion commentary from Jackie, uncoincidentally mirrors most closely the known interests and personality of the deceased dame it spotlights. Read the rest of this entry »
A casual setting and an enthusiastic pair of hosts don’t quite add up to what “Option Up!” is striving for, but it’s early going and there’s much promise in this new monthly event at Stage 773. Host Christopher Pazdernik and his comic foil, the versatile pianist Aaron Benham, present performers from current Chicago stage productions in a setting akin to a late-night talk show. Pazdernik riffs freely on theater happenings past and present and demonstrates a near-encyclopedic knowledge of musicals while Benham interjects with the occasional quip or anecdote. Read the rest of this entry »
Before this hour of booze-soaked sketch comedy even starts, the audience spends plenty of time drinking in the lobby. And again in their seats after the house opens. And don’t worry, there are plenty of waitstaff dashing around throughout the show ready to serve you more shots, cocktails and buckets of beer. Unsurprisingly, there’s a telling scent of alcohol in the air as the show starts, with an emcee (Josh Dunkin, charming and smarmy in equal measure) who broadly states, “I’m assuming everybody here enjoys drinking… otherwise you’re in the wrong show!”
What follows is a cocktail of comedy scenework and interactive drinking games (name that tune, anyone?). The bits are laugh-out-loud funny (particularly a lengthy one between Sherra Lasley and Mike Barton that showcases the effects of various alcohols on a three-year-anniversary date) and the audience participation is engaging and just rowdy enough to remind you that most of the audience is buzzed, if not downright drunk (there’s a reason everyone in the cast is miked). Keyboardist Tilliski Ramey provides a skillfully comedic soundtrack throughout. Read the rest of this entry »
It’s late on a blustery winter night in Wrigleyville and aside from a few mounds of icy snow the streets are mostly empty. But inside the iO Theater there’s a line that bunches around the ticket window, the entry and the stairs to the second floor, as those who booked in advance pick up their tickets and others anxiously wait to find out if any seats will open up at the last minute.
“I’m just here on the off chance that a ticket might open up,” the guy directly in front of me tells me eagerly. On a sub-freezing weeknight when most sensible people are staying home and warm, this 11pm show is sold out, with a waiting list. And this is fairly standard for TJ & Dave, a duo of improvisers that perform in this slot every Wednesday night at iO and have been working together for more than a decade.
As with most improvisational shows, the setup is minimal—the lights go down, a song plays, the actors take the stage (a few chairs make up the entirety of the set). Wearing what might be described as “business casual,” TJ Jagodowski and David Pasquesi take their time before getting started. Jagodowski puts his hands over his eyes and slowly looks over the crowd with a knowing smile, while Pasquesi crisscrosses the stage in long strides, sometimes seeming to be rearranging the chairs, sometimes just roaming. They then introduce each other, say the infamous words, “trust us this is all made up,” and without a suggestion the show begins. Read the rest of this entry »
A visit to Theatre Momentum’s website describes their current production as “an improvised one-act play set in a single location.” As promised, the show consists of one continuous, real-time, forty-five-minute scene, with each player sticking to a sole character for the entire show. As an audience member, if you so choose, you are left to wonder just how much of the show is improvised: The entire evening? The basic plot? Certain plot twists? Just a bit of dialogue? I found myself not caring. As the company’s site also explains, “Theatre Momentum strives for work that is theatre that happens to be improvised.” As a viewer, I approached it as such. Unconcerned with the degree to which the show may or may not be improvised, I experienced the show as it was presented: unpretentious, conversational, casual, loose and, above all, humorous. The staging is simple, there are no props to speak of, and the performances could be taking place in your living room. It all results in a satisfying, enjoyable and rather brief evening of entertainment. Read the rest of this entry »
By Michael Mellini
A single sinner navigating heaven’s dating scene, video tributes to Janet Jackson’s greatest hits, a fundraiser to crush Chicago’s rising murder rate, a frazzled Mary Todd Lincoln taking on variety-show host duties: these are only a few of the offbeat setups invading Stage 773 when the annual Chicago Sketch Comedy Festival hits the Lakeview venue beginning January 9. Now in its thirteenth year, the country’s biggest sketch fest will host 150 comedy troupes showcasing their best material throughout the eight-night run.
“The lineup is exceptional this year,” says festival creative director Brian Posen. “Not that it hasn’t been in the past years, but we had to turn away really good talent, about 150 troupes, because we just didn’t have the room.” Although some groups from previous years are on the roster again, Posen assures that no year of the festival ever feels the same. “The festival always recreates itself,” he says. “Sketch comedy groups rarely last more than a couple years, so there’s a constant rebirthing of new and exciting groups. When any art form grows, whatever the norm is, [artists] must break it, so it’s very exciting as a sketch geek to see how performers are changing the norm and how material is presented differently.” Read the rest of this entry »