RECOMMENDED

Sporting a giant, nasty afro and a t-shirt that says “Less Humans More Robots,” an audience member could suspect that 2006 Andy Kaufman award-winner Reggie Watts is about to push the limits of avant-garde comedy—in reality, he’s probably about to push the limits of his vocal chords. While primarily considered more of a “performer” than a “stand-up comedian,” Watts does delve into a bit of dialogue and absurdist punch lines; one story, about pushing his grandfather off a balcony and to his death, ends with Watts saying his grandfather, “didn’t make a sound, which showed his commitment to silence.” But Watts’ best attribute is one killer set of pipes, boasting a vocal range of ten octaves (we’ll assume some hyperbole involved) and the ability to imitate a whole slew of instruments and sound effects, making him like a more likable version of that “Larvell ‘Motor Mouth’ Jones” character from “Police Academy.” Many of Watts’ jams—often performed live through layering loops of his vocal beatboxes and basslines—fall comfortably in the “just really damn impressive” category, even with little or no actual jokes involved. But when the comedy does come paired with Watts’ bewilderingly high musical talent, it’s just that more effective. Watch his CollegeHumor.com video “What About Blowjobs?” to see the most impressive performance of the lyrics “Cradle the balls!” ever conceived. (Andy Seifert)

January 9 at Lakeshore Theater. 3175 N. Broadway, (773)472-3492

RECOMMENDED

You better believe if there’s something wrong in the fabric of society, Chicago’s own Dwayne Kennedy is gonna try to wrap his head around the problem. His brand of social observational comedy refuses to shy away from any controversial topics of interest—9/11 (which he says cramped his theory that “the white man is the devil”), racism and slaves are all free to be comedically bandied about. What’s just as appealing about Kennedy’s routine is that after the tension is released and the laughter subsides, some thoughtful and serious commentary exists. For instance, Kennedy insists that all races will remain edgy with one another unless some sort of dialogue occurs and we start asking questions of one another. “You could say like, ‘Hey white man, how come you’re so tense and afraid?’ Kennedy says. “’And then he could say, ‘Hey black man, how’d you get into my apartment?’ Then the healing begins.” (Andy Seifert)

January 13-14, 16-18 at Zanies, 1548 N. Wells, (312)337-4027.

RECOMMENDED

A sure sign of a comedian who’s not all that self-centered or too neurotic: the ones that can make fun of themselves just as mercilessly as they would a celebrity. L.A.-based comedian Mike Bridenstine, who’s done a fine job poking fun at Pamela Anderson and Eminem (through his semi-internet meme “Every Eminem Song Ever,” which mostly only features the words “8 Mile,” “Detroit,” “Haley,” and “Mom”) has also found a plethora of ways to tie a variety of subjects to his somewhat pathetic state of existence, like gaining excess weight, being a Cubs fan and even Terrell Owens’ rumored attempted suicide. “The cool part about it, his publicist went on and said, ‘There’s no way T.O. tried to kill himself. T.O. has twenty-five million reasons not to commit suicide,’” he says. “I’m watching like, ‘That’s awesome. I was just at the bank; I clearly have sixty-eight reasons not to commit suicide.’”

January 2 at Lincoln Lodge, 4008 North Lincoln, (773)248-1820

RECOMMENDED

The first thing you will notice about Kevin Hart is that he’s comically short and knows it. His upcoming album uses its title, “I’m a Grown Little Man,” to get the amusement from his five-foot, four-inch height out of the way so that he can use the rest of the time ripping through other, non-short people jokes (though he does say he yearns to have a son he can name “Lil’ Kev,” just so people will call him “Big Kev”). Animated, fiery and oftentimes hilariously argumentative in a harmless sort of way, Hart’s always moving, screaming, shrieking and convulsing if it means a laugh. Theatrics, though, aren’t the meat of his act. Hart’s mostly a substance-first, style-second kind of a comic, even if the substance is about things like fat-ass toddlers. “I saw this lady like three weeks ago; this lady had one of the fattest asses I’ve ever seen in my life,” he says. “She was like three or four years old. … I ain’t never seen a Pamper like that. Huggies don’t make those.”

December 30 at Zanies, 1548 North Wells, (312) 337-4027.

RECOMMENDED

You probably have never heard of South Side comedian Robert Hines, but perhaps you’re one of the 800,000 views to his alter-ego’s You Tube video, “Jones Big Ass Truck Rental and Storage,” the newest internet meme created by Hines and local sketch group Big Dog Eat Child. Local entrepreneur Toby Jones will store anything – rusty bicycles, antique silverware, buses, weed, you name it—in an abandoned warehouse for the low, low price of $10.99 a month! “Now friends, you may ask yourself, ‘how in the hell can he store this stuff for such a cheap price?’” Toby asks. “The fact of the matter is I’m pretty drunk right now.” While Jones may be one of the year’s best internet characters, it’s thankfully not the only part of Hines’ act. Potential targets of Hines’ chuckle-worthy observational humor: Flying as an overweight individual, the way African-Americans spruce up the National Anthem, and, best of all, his love of “boobies.”

December 31 at Lakeshore Theater, 3175 N. Broadway, (773)472-3492

Tom Flanigan, Laura Grey, Amanda Blake Davis, Christina Anthony, Timothy Edward Mason (photo by Bob Knuth)

RECOMMENDED

We’re all breathing different air these days, what with a disastrous economy and all hopes pinned on a shiny new president who seems awfully close to perfect. The cast of Second City e.t.c.’s thirty-seceond revue is clobbering these sentiments for all they’re worth.

Something about the show’s vibe, though, feels especially fresh and full of momentum. You won’t find one “Hey, Grandma” bit, no cocktail party or barbecue sketches, no dad uncomfortably talking about the facts of life with his kids. Not everything here centers on current events (and a couple sketches miss their mark), but I’d say ninety percent of the material has an original spin to it—either due to its construction or the performances themselves. An image of Cloud Gate makes up the set design—the cast is literally performing on top of the Bean, and the height suits them.

“Brother, Can you Spare Some Change” (directed by Bruce Pirrie) features one new cast member, Christina Anthony, and she is a major talent. It can take newbies a few months to figure out how to be themselves within the parameters of a Second City show—everything is polished and lively and very mainstream—but Anthony is confident right from the start and she is probably the most exciting addition to the e.t.c. stage since the arrival of Keegan-Michael Key so many years back.

She sings a song about bad luck in love, backed up by cast members Amada Blake Davis, amusingly pert and neurotic, and Laura Grey, an imp with huge eyes and an energy that stands out from the pack. But watch as Anthony slinks into the crowd and attempts to pick up an audience member, her seduction red hot and hilarious.

Timothy Edward Mason—who joined the cast last year and was somewhat muted—displays more of his specific comedic personality. The guy has the biggest smile on that stage, and he and Anthony have real chemistry in their scenes together. Mason has a twisted side, seen in full effect as he devolves into a sputtering weirdo, ending the scene with his hand down his pants—looking startled at his bizarre behavior but unable to stop it. Later, Mason turns a bedtime song for his daughter into a very funny bit by virtue of his delivery—earnestly dirty, you might call it.

There’s also a surprisingly funny opera about Mayor Daley sung in Italian (Adam Sandler used to do something similar on “Saturday Night Live,” but the high quality of the show puts you in a forgiving mood). In one of the strongest bits, Andy St. Clair takes the stage all by his lonesome, playing a Southern-fried defense attorney in the William Jennings Bryant mold, dabbing a folded hanky to his upper lip as he improvises with an audience member. It’s a very good showcase of St. Clair’s talents and ability to charm an audience.

Tom Flanigan is perhaps the quietest cast member, but his understated boy-man persona works. He is frequently the perplexed guy—but it’s a layered performance, somewhat dim, but not quite dumb.

This is a factor too important to be dismissed—without good acting, sketch is just a collection of potentially funny ideas. I’d say that potential has been reached this time out. I’ve been critical of Second City’s show in the past; they can feel like regurgitated clichés of themselves. “Brother, Can You Spare Some Change?” is unquestionably a Second City show, but an extremely good one at that. (Nina Metz)

At Second City e.t.c., 1608 N. Wells (second floor of Piper’s Alley), (312)337-3992. Thur 8pm, Fri-Sat 8pm & 11pm, Sun 7pm. $20-$25. Open run.

RECOMMENDED
One of the rising stars in Chicago’s stronger-than-ever standup comedy scene, Prescott Tolk is not a comic who cracks the kind of jokes that make you lose your lunch, nor the kind who trades in over-the-top outrageous behavior or content. No, he’s the guy you want to hang out with at the bar, who cracks wise with inimitable wit, who has a way with wordplay that keeps you in stitches. And, after a while, you realize he’s really smart and really funny in a way you wish your real buddies were. Tolk’s releasing a CD and DVD of his work, “I Can Complain,” where he recounts his experiences as post-collegiate Chicago slacker, a guy grappling with bills, the peculiarities of city living, sexual disappointments and a general disenchantment with the way life is going so far. In other words, the life more than a few of us are living. Except he makes it more funny than sad. (Brian Hieggelke)

Prescott Tolk performs at Zanies, 1548 North Wells, on November 10 at 8:30pm and at a CD-release show at Beat Kitchen, 2100 West Belmont, on November 11 at 9:30pm.

RECOMMENDED
A current prince of indie comedy, Brooklyn’s Mirman’s released live albums on Suicide Squeeze and Sub Pop, appeared on “Flight of the Conchords,” opened for comedy troupe Stella and has performed before sets by bands like The Shins, Modest Mouse and Yo La Tengo. Indie cred? Yeah, I would say so. His brand of absurd, usually wholly nonsensical humor takes a bit of time to get used to, but once you feel yourself getting onboard it’s a rather delirious ride. A quick YouTube search will present multiple Mirman pieces that will give you an adequate taste. Try the one in which he lectures on Canada. (Some choice one-liners: “What I like about Canada is that they basically don’t investigate murder”; “Canada has over 200,000 million people”; “Canada is what happens when love falls in love.”) But let’s leave it with Mirman’s own description of himself, from his bio on his Web site: “Esquire magazine described Eugene as ‘equal parts Andy Kaufman and Andy Warhol.’ Still some people on YouTube think he’s a ‘fag’ and must be destroyed. Oh well. That’s life.” (Tom Lynch)

November 7-8 at Lakeshore Theater, 3175 N. Broadway, (773)472-3492.

RECOMMENDED

Adam Bock’s “The Thugs” communicates more in its glances, glares and sentence fragments than other plays’ most artfully crafted soliloquies. Bock captures the tension and fractured relationships in the bleak world of temporary employees and throws in a couple of potential homicides for good measure.

Seven temporary employees working for a law firm sort through the rumors surrounding two recent deaths in their building. The characters reveal the threats they face: abusive boyfriends, a waning environment, a violent world on the edge. The collective paranoia builds to a well-orchestrated fever pitch.

The top-notch cast makes the Mametesque dialogue sound as natural as breathing, and capably man-handles the script’s helter-skelter rhythms. Standouts include Caroline Dodge Latta as the office’s sad-sack pariah/victim; Bob Pries as the ebullient gossip-monger and Greta Honold as the cheerful do-nothing who must deal with a very real conflict at home. (Lisa Buscani)

At Profiles Theatre, 4147 North Broadway, (773)549-1815. Through December 14.

RECOMMENDED

Back in town at the Royal George Theatre, “Forbidden Broadway Dances With the Stars” feels just like old times with this musical sketch comedy show that lampoons all things on the Great White Way. The show’s impressively current, even featuring a “Shrek the Musical” joke.  And while you may not get everything if you aren’t a tried and true aficionado of contemporary and historical Broadway, the show feels at home in the city that defines sketch comedy.  Some of the routines could use a little more edge though; there are only so many gags about loud divas and movies-turned-musicals I can stand.  That said, all four cast members have been with the show for some time and they feel at home with the material.  Of particular note, get a load of  Val Fagan.  She should be starring on Broadway, not just making fun of it. (William Scott)

At The Royal George Theater, 1641 North Halsted, (312)988-9000, through November 30.