I can only assume that Colin Quinn spends the hours before his comedy shows scarfing down industrial-scale oxygen tanks. This has to be true, if only to explain how he can spend an hour hilariously recounting the history of New York City without ever inhaling…although perhaps projectile vomiting the Big Apple’s history is more accurate.
Ask pretty much anyone who knows me and you will learn that I am a comedy snob. It takes a lot to make me chuckle, let alone laugh out loud.
I not only laughed out loud at Colin Quinn’s latest Netflix special The New York Story (trailer), I actually clapped while laughing out loud at several observations…and this was from my futon, not sitting with a theatre audience.
And before the laughter from one bit reached its crescendo (forget fading), you were already two bits behind, such was the ferocity with which Quinn delivered his perspectives of New York.
The first two thirds of the show were the best, as Quinn explained and contextualized the arrival of each ethnic group to the city as a way of explaining why the attitudes of New Yorkers are unlike those of any other city in the world.
The last third, where Quinn took shots at political correctness and white guilt, was less funny but still had its share of laughs. This was the part of the show that seemed more like every other show I have seen that touches on race and ethnic relations.
But it is when Quinn becomes the people he describes, taking on mannerisms and recalling each culture’s absurdities, that he is at his best. His is less the vocal mimicry of a Russell Peters and more a distillation of their essence.
And his portrayals were made all the more engaging by the stage itself, which was decorated with settings familiar to New Yorkers—a deli counter, the docks, a front stoop, a corner bodega, an Irish bar—Quinn inhabiting each as he told the story of another group’s arrival in the city.
This choreography makes The New York Story more a one-man stage play than a stand-up comedy routine. Not surprising, given the show first got its legs in a run off-Broadway.
In broader terms, whereas I have thought for several years that Quinn is funny—in particular, I miss his panel show Tough Crowd—I think he has really hit his stride in the last couple. What this special did for New York City, his last special Unconstitutional did for American politics, and with just as much humour and wisdom.
Perhaps, however, it is less that Colin Quinn is just now hitting his stride, and more that I have finally reached a place where I can appreciate him and his humours more fully.
Either way, I am glad we have reached this place and I hope we stay here for a while.