Gotta laugh (seriously, I mean that)

I am so amused by your humours

I am so amused by your humours

I’m my own worst enemy when it comes to stand-up comedy. Not in the performance of it, you understand—been there, done that, bear the scars—but rather in simply being an audience member.

For the uninitiated, stand-up is best described as stripping naked, slathering your body in hot sauce and dragging small razor blades across your skin while being judged by a room full of your parents. And your only salve is laughter.

Which is where my problem starts.

LOL Classic

LOL Classic

Hi. My name is Randy, and I don’t laugh at stand-up comedians. Okay, perhaps rarely laugh is more accurate.

It’s not that I can’t laugh. Get me together with the right group of friends, and I become a giggling gibbon. Hit me with the right joke or observation at the right time, and you’ll turn me into a hyperventilating tear factory. But for the most part, I only LOL when texting.

If I get where you’re going, I will nod. If I like what you said, I’ll smile. If I really like it, the smile will show teeth. But the laugh is elusive.

At a stand-up comedy show several years ago, a colleague accused me of being a comedy snob, suggesting that I refused to laugh to make myself look cool. Ironically, this made me laugh.

If my name were ever to appear in Roget’s Thesaurus, I can promise you that “cool” would only ever appear as an antonym. (Case in point, I just referenced Roget’s Thesaurus.)

So I knew I was in trouble a couple of weeks ago when the host of The Comedy Store in Los Angeles decided to sit me dead centre in front row, literally at the shins of the comedians.

The Comedy Store

The Comedy Store

I sat there. A long-torsoed beacon of attention. I was the Lighthouse of Alexandria (yet another cool reference) to those rolling on the oft-stormy seas of stand-up.

Comedian #1 takes the stage. She’s quickly warming the audience and then, “So, where you from?”. Toronto, says I. Cue the Canada jokes.

No problem. I come from a funny country with a funny reputation. Ask me a question, I’ll answer it best I can. I am more than happy to participate to help the comedian.

[Side note: I do not heckle, anyone. Comedy is hard enough without the drunken asshole. Likewise, I do not interject into someone’s set. The audience is there to enjoy the comedian’s wit, not mine.]

When engaged by the comedian, I will play along and maintain the game. I will not (or at least try not to) be funnier than the comedian.

Only one of the three A-list comedians (Argus Hamilton, Bobby Lee, Marc Maron) paid me more than passing attention, each one more than capable of holding their sets to their own material, addressing the audience with little more than a passing “You know what I mean?” or “How many of you…”

Bobby Lee, Angus Hamilton, Marc Maron

Bobby Lee, Angus Hamilton, Marc Maron

They talked to the whole audience, not just those of us they could see.

Then came the B-listers.

Like any artist, comedians at this stage are less able to roll with failing bits. And even when a bit is working, the big guy in the front row who refuses to laugh becomes the focus of attention.

After the third B-lister, I started to feel sorry for the audience, who quickly learned everything about me and Canada, the information oft repeated as no two comedians paid much attention to anything that happened five minutes before they hit the stage.

Over the five hours I watched the show—I arrived at 8:30 and didn’t leave until 2:00—I swear I was being spoken to or about or was on the microphone for one hour. I literally had more air time than all but one comedian. (Part of my air time included a rousing rendition of Oh, Canada and a duet of Tie a Yellow Ribbon.)

In five hours, I was told that I had an abnormally long torso (I do), I dress like Steve Irwin (I was), I work in maintenance or engineering (I don’t), I have beautiful hair (it is nice), and was asked twice to mimic cunnilingus (I respectfully refused). [Side note: Don Barris is a very very very strange man.]

Don Barris (his cunnilingus face)

Don Barris (his cunnilingus face)

And all, I am confident, because I refused to be the giggling gibbon.

I wasn’t defiant (except for the cunnilingus part). I never crossed my arms. I tried to be positive and supportive in my eye contact (perhaps that was mistaken as a challenge). And yet, I received a pretty good workout.

So, I think my choices are: laugh despite my personal opinions or ask to be seated in the shadowiest corner of the bar.

Either way, it will be a while before I attend another stand-up comedy show.

Sitting in back of the bar

Sitting in back of the bar

On shaky Groundlings (a review)

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Just got back from seeing a preview of The Groundlings latest improv show entitled Slippery When Groundlings and really have only one response: Watch for the names Jill Sachoff-Matson and Alex Staggs. I don’t know when these two artists will hit it big, but I guarantee you they will.

Unlike the standard Second City shows I am used to watching, this one didn’t seem to have much of a theme beyond irritating people…but then, all sketch and improv comedy seems to be reduced to irritating people. And given the reputation of The Groundlings, I was surprised at how many sketches seemed to be one joke spread over 3 or 4 minutes. I expect that from student shows, but I expect more from main stage casts.

The first third of the show was evenly bad with the exception of a piece called “Carl’s Jr.”, where Sachoff-Matson first caught my attention as a dweeby woman who has been run down and then backed over by life.

Jill Sachoff-Matson

Jill Sachoff-Matson

The second third picked up somewhat, starting with “Church Camping Trip”, but a solid premise was completely let down by a lack of where to go with it. It’s a good sketch, it just needs more brainstorming. This was followed by Sachoff-Matson’s “Kindergarten”, which actually caused me to laugh out loud. Sachoff-Matson is mesmerizing both physically and in how her mind works, particularly as she portrayed yet another train-wreck character.

But just when I thought I had seen the best part of the show, Alex Staggs shows up with “Giving Up”, a lounge act in which he gets the audience involved with hilarious results. I would be willing to see where Staggs goes with this every night because he exudes comedic range with this.

Alex Staggs

Alex Staggs

Following the short intermission, Ariane Price gave us her send up of sad-sack informercials with “Emulsion”, another audience participation bit that was incredibly tight because of the character Price portrayed. You felt so sorry for her Eastern European refugee glam-girl wannabe that your heart melted and you wanted to give her a hug.

Ariane Price

Ariane Price

The problem was, the crew then wasted all that good will with “Sub”, a throwaway bit about an aged substitute teacher who has trouble reading fine print on an attendance sheet. That’s it. That’s the bit.

But the show was rescued by the big musical dance finale “Brittany” where again Sachoff-Matson showed what she can do with a woman completely at odds with her world and her own body.

If I have one complaint about Sachoff-Matson’s overall performance, it is that her three best pieces all largely portrayed the same character. But where this would normally kill it for me, she managed to do so in such unique ways that it wasn’t the mortal sin it might have been.

I don’t know what other sketches they have in the hopper, but there is a definite need to replace several from tonight before this show will be solid from front to back. And while good, the other cast members are going to be challenged to shine as brightly as Sachoff-Matson and Staggs.

groundlings