“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 »
Photo: Patrick Lothian
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 »
Andy Polacek, Jillian Markowitz and Sal Piccolo
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 »
Siblings of Doctors
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 »
Noah Ginex and Jameson (host of Snorf!)/Photo: Greg Inda
By Zach Freeman
Noah Ginex loves puppets. To paraphrase the great poet Fifty Cent, he loves them like a fat kid loves cake. So it makes sense that for almost twenty years now, Ginex has been all about puppeteering, creating puppets on commission and working with the Jeff Award-nominated puppet company that bears his name (The Noah Ginex Puppet Company) to bring live puppet shows to Chicago.
And though Ginex, who has studied with The Jim Henson Company and coordinated the puppets for the Barenaked Ladies video “Pollywog in a Bog,” loves all kinds of puppet shows, earnest, heartfelt puppet characters are where his heart lies. And his latest creation, a monthly variety show called “Snorf!” that plays in the afternoon at The Playground Theater every fourth Saturday of the month (with dates adjusted in November and December for the holidays), features just those kinds of puppets.
“I wanted to create an actual kid’s show that was smart and sincere and completely genuine,” says Ginex. Sporting an (intentionally) nonsensical acronym (SNORF stands for the Saturday afterNoon mOnster and piggie comedy-vaRiety show! (the F is silent)), it seems like that’s what this latest show is doing. I sat down with Ginex and “Snorf!” director Erica Reid (who is also a producer and writer on “Snorf!”) to talk about their monthly show. Read the rest of this entry »
(l to r) Alex Goodrich, Dara Cameron, Renee Matthews, Tim Kazurinsky/Photo: Dan Rest
Talk about high-concept. If you can’t gather what this show is about based on the title… what kind of a dumb schmuck are you? Based on the popular website OldJewsTellingJokes.com (guess what’s on the website), the original production of “Old Jews Telling Jokes” just closed in the middle of last month after running for almost a year and a half Off-Broadway before opening in Chicago at the Royal George Theatre with plans to run through mid-February of next year. And this goyim loves it.
Though the concept and presentation are blatantly Jewish (even the program looks like a deli menu while the logo is a monstrous pastrami sandwich with a gherkin perched on top of it) the main conceit here is just to throw out as many jokes as possible (along with a few song-and-dance numbers and some brief monologues) and keep the laughs coming. Stripped down, this show really isn’t much more than a long series of jokes: puns, one-liners, anecdotes and stories. Read the rest of this entry »
Brianna Baker and Shad Kunkle/Photo by Samual Roberson
As a sketch toward the end of this gentle send-up of Chicago makes clear (with a self-referential punchline), Second City has been making audiences laugh (and casting directors take note) since 1959. And “What the Tour Guide Didn’t Tell You” is not so much a standalone revue as it is a “best-of” collection of sketches about Chicago from the last five decades or so of revues—which means they have a lot of material to choose from.
References are made to both the current and previous mayors (the former gets some quick sketches while the latter gets an entire song), potholes on Lake Shore Drive, Wrigleyville, da Bears and da Bean, among other Chicago notables. Still, the focus is always more on comedy than Chicago and even non-Chicagoans should have no trouble following along with the cracks and one-liners. They might even learn a thing or two about Chicago that the tour guide may, in fact, have neglected to mention; the out-of-towners I went with asked me afterward, “So, Lincoln Park is a snooty neighborhood?” Point made, Second City. Read the rest of this entry »
Photo: Todd Rosenberg
There is a sketch early on in the second act of “A Clown Car Named Desire” that starts out seeming like your standard hipster-mocking (and let’s be honest, who doesn’t enjoy a good hipster-mocking?), but then it ever-so-slowly and subtly morphs into what has to be one of the funniest sketches the e.t.c. stage has hosted in its illustrious history (“Clown Car” marks the stage’s thirty-seventh revue).
It takes place in an American Apparel, where two employees (Mike Kosinski and Brooke Breit) indifferently greet a customer (Chris Witaske) only to discover that he also works at American Apparel. The trio then begin an epic marathon of idle one-upmanship and “top that,” while languidly pacing the stage, attempting to look unimpressed with each other and using as little energy as possible to speak (Breit declares her hate for a four-legged adversary in one breath: “ifuckenhatethatgoat”). At one point Witaske, sporting a fanny pack and colorful tights, declares “I’m exactly where I want to be for a thirty-five-year old man.” And we believe it. Both for Witaske and for his character. Read the rest of this entry »
Photo: Todd Rosenberg
The pre-show music for Lyric Opera shows don’t typically include selections from Deltron 3030. And you can’t usually order mixed drinks with clever names like The Boozy Baritone or The Icy Maestro from the comfort of your seat (on the stage). And, most notably, it’s certainly not common practice for an usher to say, “Welcome to Second City” as you walk down the aisles of the expansive Civic Opera House to find your seat.
That’s because this isn’t a Lyric Opera show. Not exactly. It’s “The Second City Guide to the Opera,” a month-long run of an opera-themed Second City revue based on the sold-out one-night show of the same name that played the Civic Opera House in January, announcing the unlikely pairing of two very different Chicago stalwarts: the Lyric Opera of Chicago and Second City. And though this reincarnation doesn’t feature special celebrity guest artists Patrick Stewart and Renée Fleming, it’s still a unique experience. Read the rest of this entry »