Jester's Blog

Hearing the Bugle's call

2012-01-30T23:02:00.000-08:00

A quick and brief entry tonight. Just belatedly discovered yet another comedy podcast to add to my list -- the Bugle, a weekly affair that has been around awhile, but only recently debuted on iTunes. It features the Daily Show's John Oliver with partner Andy Zaltzman, riffing on politics and the news. On a recent episode titled "Playas gon play," listeners can see why Oliver's segments on the Daily Show often have the most fire and life to them of anything on that program -- because he exhibits the same cutting attitude here at much greater length.

NBC Must See TV column

2012-01-23T18:00:00.000-08:00

In this column, and a lengthier podcast that expands on the column, Grantland's entertainment writers Andy Greenwald and Chris Ryan deliver a spot-on critique of NBC's Thursday night comedies, as well as other current TV series. In particular, they identify and explain in detail some of the issues "The Office" seems to be having since Steve Carell's departure. These are worth checking out.

Letterman fallout/Another recommendation

2012-01-17T22:39:00.000-08:00

To follow up on a previous blog post here, according to Mirth, Eddie Brill is now out as booker of comedians at the "Late Show With David Letterman," mainly because of one small remark quoted in the New York Times story about him. Mirth's editor wrote an insightful column probing that remark that may have called attention to a problem with Brill's comments and the attitude they represent, perhaps leading to his departure from the booking role. I would recommend Mirth as a source of interesting news and features to comedy fans.

Letterman, Steven Wright tips

2012-01-12T21:38:00.000-08:00

Read with interest this story on Eddie Brill, the veteran stand-up and longtime booker for the Late Show With David Letterman. I thought it was interesting because it tapped into some dissent among comedians about Brill's booking practices -- notably that he books mostly only friends, and that the show has only had 22 stand-ups over the course of the past year. Anthony Jeselnik was sharply critical, saying Brill trades on Letterman's name for his own comedy classes and hints that studying with him will give a performer a shot at getting on.

Speaking of Letterman, also out there, on Twitter, is @BernhardOnDave, an unofficial campaign to get Sandra Bernhard back on Letterman's show. She had several memorable appearances, but at some point got blackballed from the show and hasn't been on in years.

Overall, what both these items make me think about is that -- and this is probably stating the obvious -- Letterman hasn't been a place to actually catch creative comic talent in a long time. That's long been ceded to Conan, Craig Ferguson, Jimmy Kimmel and Jimmy Fallon -- the next generation.

Lastly, had to devour Marc Maron's latest WTF podcast while riding the trains today -- an interview with Steven Wright. It struck me that in Maron's interview with Wright, you actually get to hear Maron draw Wright almost all the way out of his sleepy comic persona. Together, the two comedians connect and riff so well in the conversation that Wright's voice actually becomes fast and animated. It's fascinating for Steven Wright fans -- a must-listen.

Louis C.K.'s B.S. Report appearance

2012-01-09T20:30:00.000-08:00

In the spirit of the last post, and re-purposing this blog, I will try to give more regular recommendations of various bits of coverage of comedy in the media. For this one, I'd like to point people to Bill Simmons "B.S. Report," previously cited as a Jester favorite among podcasts. It's a few weeks old, but the Dec. 15 two-part interview with Louis C.K. is a must for comedy fans and media aficionados. In the interview, Simmons goes in-depth into the comedy and entertainment business with Louis C.K., following his successful and groundbreaking marketing of his latest one-hour special indepedently online. Together, they get into the economics of both the special and producing his "Louie" series, as well as touring as opposed to looking for a movie career. It's interesting and also inspiring as an example of how there is a path to do creative work if one creates it for oneself.

P.S. Thanks to Anthony Malakian of "Good Shot At Losing" for reminding me about this one.

Blog shift

2012-01-07T07:59:00.000-08:00

I'm going to set out to repurpose this blog. I used to, less frequently, post short observations on comedy, which I may still do, but I'd like to add a bit of "comedy media critic" aspect to it. That will start as pointing out other coverage about comedy from other outlets that I've found insightful and interesting. They have the time and focus to do the kind of reporting and coverage that I may not, so the least I can do is recommend it.

To that end, a first stop: http://www.nytimes.com/2012/01/08/magazine/stephen-colbert.html?ref=television. Already posted online three days ago, this is the cover story of tomorrow's New York Times Sunday magazine. In short, it looks at how Stephen Colbert is expanding his comedic persona by applying it to the US political fundraising system by starting his own Super PAC (political action committee). By actually using the Super PAC system in wacky ways -- to fund nonsensical ads, get referenda on ballots and support the owners' side in the recent NBA lockout -- Colbert is showing what a farce the rules and regulations are.

But I'll leave it to you to read more there. I give this teaser about the story to get you interested, as I'll do in future posts.

Patrice O'Neal tribute on SiriusXM

2011-12-03T09:51:00.001-08:00

Ihaven’t covered the programming on SiriusXM satellite radio very much – it’s anexclusive service and I don’t know how many readers get it, but I recentlyadded it to my media diet (after cutting the cord from Time Warner cable, butthat’s another column. Or two.) .

ButI want to make note of something exclusive that was just available there thisweek. Comedian Patrice O’Neal’s death at 41 inspired a lot of tributes andmemories being recalled online on Twitter, Facebook and elsewhere, but the onlyplace to hear volumes of O’Neal’s appearances was on the Opie & AnthonyChannel on SiriusXM. The station replayed his appearances on the O&A showand SiriusXM’s “Unmasked” show, and O&A gathered an all-star roster ofcomedians to share memories of him Wednesday, including Louis C.K., AmySchumer, Jim Florentine, Robert Kelly, Colin Quinn, Bill Burr, and Jim Norton.

O’Nealhadn’t quite broken through to the level of Dane Cook before his passing, buthe was definitely still on the rise, and deserves the tributes. SiriusXM andOpie & Anthony should be commended for doing what ought to be done on evenbroader outlets.

Lewis Black: The Prophet

2011-09-26T18:45:00.000-07:00

Due to time constraints, this won't be a full review, but it's worth noting that Comedy Central is releasing "The Prophet," an album of a stand-up performance by Lewis Black from 1990, on Sept. 27. The recording is a bit lo-fi, not quite up to modern standards of sound quality, but in it, you can hear the beginnings of all of Black's familiar rhythms and screams. The material is out of a time capsule -- politics of the day, just like Lewis does now, but the Bush he's talking about here is the elder one, who was in office at that time.

There are a few bits and pieces that became staples of Black's act for awhile, like "I Get A Cold," which touted the virtues of Nyquil, and "Christmas." A highlight, however, has got to be "Dan Quayle," where Black reports, dissects and annihilates the former vice president's verbal mistakes.

There are also a few portions of this performance and album where Black still used a more conventional type of stand-up delivery. It's interesting to hear what amounts to the "pilot" version of Black's personality as a performer, covering political subjects from before the time where he became prominent and known for what he would cover in the political parts of his performances.

Jester's Blog: Conan's 12:30 successor

2011-08-18T17:48:00.000-07:00

In this Huffington Post story on the cancellation of the George Lopez show, the writer gives takes on 16 comedians who could fill the spot on TBS, if that network does so. Of these performers, I think the best match to follow Conan O'Brien would be Marc Maron, bringing something like what he does with the WTF podcast to TV.

Kevin Smith or Paul F. Tompkins would be interesting choices as well. Tompkins would bring the possibility of edgy sketch comedy in the 12:30 spot, and Smith could play the raconteur role he has on his college speaking tours, only on the air, and has shown from his own podcasts and podcast appearances that he would be a good interviewer.

The writer also cites the Daily Show's John Oliver and Wyatt Cenac as possibilities, but I don't know if they're strong enough to carry a whole hour and I'd certainly miss what they do on the Daily Show. Also, I don't think Lisa Lampanelli or Lizz Winstead would command a big enough audience, and they don't seem to have the ties to Conan that Maron or others might.

There is one outcome to this slightly more subdued late night shuffling (compared to the Leno-Conan fight) that I do fear though -- and that's one name on the Huffington Post list: Reggie Watts. See this review. The fandom he gets from Brooklyn hipsters and others really baffles me. As I wrote in that review in May 2010, Watts performs an unfocused and ADD-addled combination of rap, beatboxing, odd stories and flat one-liners. Somehow, Watts is tight with Conan, who had him open on his 2010 summer tour. Watts is the one name on the list that might have an inside track just because of that, and if Conan's influence rules the day on who will follow him at 12:30, he will be making a mistake that will dent his reputation if he hands the spot to Watts.

2011-07-14T21:16:00.000-07:00

This is a few months old now, but I saw it only recently. Great stuff...

2011-07-14T21:03:00.000-07:00

From Jester interviewee April Brucker, a new character, enjoy:

2011-06-06T20:01:00.000-07:00

This is cute and entertaining. It's the S.F. Giants eccentric star reliever, Brian Wilson, and teammate Cody Ross, appearing in a fundraising video for the child who they lip sync with.

The Apple Sisters go a-podcasting

2011-06-01T19:15:00.001-07:00

The Apple Sisters, once interviewed on Jester (see here), have debuted a podcast that can be found here. Just wanted to call your attention to it.

Faye Lane's Beauty Shop Stories

2011-05-22T10:18:00.000-07:00

Jester correspondent Bethany Trottier has reviewed Faye Lane's "Beauty Shop Stories" which continues its run at the Soho Playhouse in New York today and next Sunday, May 29. Because I am out of town and unable to access the site's mechanics, the review didn't make it to the main site in advance of today's performance. Here it is, and it will appear on the main site this week.

Go and see this show all you jaded souls! That’s it, that’s my review. Ok, let me add to this. If I ever wanted someone to write and sing the story of my life, Faye Lane would be that person. She conveys her story in a way that is both genuine and amusing. Even though this show is super-polished, it is still very spontaneous and alive. This woman could write lyrics about anything, and it would be funny and clever.

Lane sings and chats her way from her childhood years through her early 20s as she grows up in her mama’s beauty shop in Texas. Throughout the journey, she recalls the personalities and anecdotes of her mother’s clientele, all lined up under the dryers, her first (albeit captive) audience and her dreams of being a star.

The moment she hit the stage, Faye was off and running and the audience was right there with her. We got to hear about her first starring role in “Peter Rabbit,” the musical. She had the part of a green bean in the garden, which she made all her own by going nuts with a bedazzler on her costume and declaring herself the “Green Bean Queen!” (This girl really likes sparkles, come to find out. I believe it’s a Texas thing.)

She is relentlessly teased for being fat, all the kids joining in singing “fatty fatty two by four, can’t fit through the bathroom door!” Lane does the voice of one of her mama’s customers saying “honey, you ain’t fat you are vo-LUMPT-uous, like me.” Another lady keeps moonpies in the bottom of her purse especially for Fay. Right next to her gun. Which may or may not have the safety on.

Apparently, each and every one of those ladies was a would-be beauty queen. Lane presents great songs about the various crazy ways they got robbed of their crowns. Somehow this leads to one of the funniest bits of the show, a Civil War reenactment story told with sock puppets – both with googly eyes, and one with a quite a jaunty mustache.

Lane’s voice is great both for singing and story telling – and she convincingly channels the personalities in the show. She can see the charm in everything -- a rare talent. The whole show is so well-crafted. It’s obvious that Lane’s piano accompanist has worked with her for some time, making the music seamless, but still leaving room to be spontaneous and improvise within their script, since they are on the same wavelength. Her producer and lighting manager – one person handling both roles -- also adds to the polished quality of the show. Now off you go!

Pandora Adds Comedy

2011-05-04T19:57:00.000-07:00

As reported in today's New York Times, the Pandora web radio service announced that it will add a comedy station. If you don't know, Pandora allows users to make customized music stations, starting by filling out lists of their favorite artists, or importing those lists already made on Facebook profiles, and then further customizing the stations as the listener gives thumbs up or thumbs down to tracks that come up.

From the initial data, and the continually added data about a listener's likes and dislikes, Pandora determines and adds in other music the user/listener might like. With the new service, Pandora intends to do the same with comedy. According to the Times story, Pandora picked 100 traits common to jokes to make a "genomic composite" to generate suggestions just as with music. However, I think it's questionable whether artifical intelligence like this can really understand comedy, because what people find funny is often such a matter of taste. Are Chris Rock and Bill Hicks really exactly the same comedically, as Pandora might say?

Other questions also arise with this development. Will it be a boon to the comedy business or not? The Times piece says that the most successful comedy album right now is Mike Birbiglia's Sleepwalk With Me (reviewed here), with just 3,400 in sales. That figure isn't that far off the amount of paid attendees for live shows by Demetri Martin, a comedian at a similar level of success -- Martin told Adam Carolla on a recent podcast that he gets between 800 to 1,200 audience members per show, which at a ticket price no doubt higher than an album, is probably a comparable income, if not better than what Birbiglia may see from such a successful album. Martin also is getting this for every show he does, while the album is a single product.

The point of all this comparison is that if Pandora's new service ends up boosting comedians' album sales, it could indeed bring huge benefits to comedy performers. Someone like Demetri Martin might end up attracting even more fans to those lucrative live shows, when promoted by Pandora's online airplay.

Landlord Eviction [week 8]

2011-03-26T08:02:00.000-07:00

This video is really funny -- the company, Orabrush, talked about their marketing on a panel at SES NY last week, and I found this very entertaining:

Sheen's Magical Mystery Tour

2011-03-23T19:14:00.001-07:00

Just in the back of my mind, with the seeming success of Charlie Sheen's plans to tour with an as-yet-undefined show, taking a page right out Conan O'Brien's playbook after NBC dumped him, will this tour prove to be a genius move or will we see that the warlock has no clothes?

If the whispers are true, that CBS is considering rehiring Sheen after seeing how much interest and advance ticket sales he's getting for his tour, it could end up that Sheen will be seen as crazy like a fox, especially if he actually commands a still higher salary to return to "Two & A Half Men."

But I can't help but suspect that with no real idea what Sheen may be doing in the performances, it could blow up in his face. A 90-minute or more live show of incoherent ramblings and no real plan for entertaining an audience would be a far cry from Conan O'Brien's tour that had a clear set list of songs, video clips, skits and other written pieces. One or two train wreck shows on the first couple stops of the tour could scuttle the rest of the tour, especially if dissatisfied audiences start demanding refunds.

Which way do you think the tour will end up? I'd be curious to hear. Let's see who's right.

ECNY awards

2011-03-15T19:44:00.000-07:00

Enjoyed attending the ECNY Awards show last night, although by the end it was a bit of an endurance test (show ran almost 3 hours?) To me the highlights were the videos made by comedy collective "The Moon" to introduce nominees in each category. These were quite creative. For instance, for best website, two members of the group played a boss and employee, with the employee covering up his computer screen every time the boss looked in on him -- each time with a nominee's name on the screen.

And, as I tweeted during the show last night, among the performance highlights during the show (which featured performances of 4 of the 5 nominated musical comedy acts), was Adira Amram's showstopping rendition of her comedic song "Tiny Vagina," in which she sang the title over and over again, with more and more emphasis, in front of a colorful riot of two aerobics-gear-clad dancers and several black-colored bodysuit-clad chorus members and dancers -- one of whom did somersaults mid-crescendo.

Also, in a lower key, nominee Ben Lerman performed his comedic number, "Multiple Orgasm Pam," a more folkie-styled piece, that also charmed, in a completely different way.

In some ways, another star of the night was Kurt Braunohler, who reaped the most ECNY awards, and also scrambled up once or twice to accept on behalf of winners who weren't present. Braunohler got more casual with each acceptance, on one just noting, "hey I have a tiny glass of beer too," holding up a sampler from the venue's bar (the 92Y Tribeca).

Later this week, Jester will compile reviews of nominees and winners for your reference.

Mistakes Were Made

2011-02-22T19:30:00.000-08:00

I wish I had written this entry early in this show's run, instead of at the end of it, as I am now. In "Mistakes Were Made," playing through Sunday, Feb. 27 at the Barrow Street Theatre, Michael Shannon rips into the character of a beleaguered theater producer with gusto -- channeling Lewis Black and Archie Bunker with a just a hint of Woody Allen in the wordiness of his rants.

But to all of this, Shannon adds muscular comedy at times, which makes the play worth mentioning on a comedy website. In what is essentially a one-man show, Shannon heaves his whole bulk around the stage, throwing his whole weight into his voice as he yells at people on the phone.

And it's moments such as when he compares a recalcitrant playwright's agent to a "retarded farmgirl" right before you know he will blow another gasket, that have the audience ready to roar in laughter, as I was.

Zach on SNL

2010-03-09T18:42:00.001-08:00

With great anticipation, I watched my DVR recording of the most recent SNL with Zach Galifianakis as host. Choosing him as host could be inspired -- if he were allowed to do his thing, not simply plugged in to weak sketches.

I'm happy to report SNL did exactly that, giving Zach more time with the opening monologue to perform as he does as a stand-up, with even a little bit of his trademark surreal one-liners delivered while playing piano.

The episode wasn't completely a slam dunk -- time was wasted on the pointless and unfunny recurring Kenan Thompson sketch, "What's Up With That?" -- but there were at least two other pieces where Zach's sensibility reigned.

What could have been a terrible sketch -- one where he played half of a couple (with Kristen Wiig) obsessed with the bidet in their hotel room, worked mostly because of Zach's reading of lines and phrases like "bidet-wise." And the other piece, one that Zach might not have put together on his own, featured him strolling through the backgrounds of various other shows. The greatest of these being where he was obnoxiously talking on his phone right behind Law & Order's two detectives as they surveyed a murder scene -- saying, "Yeah, I'm right here on the set of Law & Order right now," and disrupting the actors into asking for another take.

Just coming up with two memorable and potentially classic skits with a host like Zach, who has his own distinct comedic sensibility, ought to show what SNL could have if it went more in this direction picking hosts -- less Jennifer Lopez or Taylor Lautner and perhaps, even more, Betty White -- as some online speculators have proposed. She's certainly got comedy chops. Failing that, how about one of Zach's fellow "Comedians of Comedy," like Patton Oswalt or Maria Bamford?

Vegas Memories

2010-03-03T21:22:00.000-08:00

While in Las Vegas, it’s hard to resist one of the new modernized burlesque shows. But if you go to “Fantasy” at the Luxor, you’re in for an unexpected surprise. Comedic impressionist and performer Sean E. Cooper pop ups between costume and set changes, entering suddenly at first with a James Brown impression emphasizing the Godfather of Soul’s sometimes unintelligible speech.

Cooper is self-effacing, remarking “I bet you’re wondering what’s going on here and where have all the girls gone,” but gets the audience on his side very quickly with other impressions throughout the show, especially of Tina Turner and of Michael Jackson. And in both of these he teases the lucky guy who was picked from the audience to romp onstage with the girls, flirting while in drag as Turner and crotch-grabbing as Jackson while remarking about him.

It takes a great performer for you not to mind that the girls in a show like this are offstage, but Cooper pulls it off.

Jeff Garlin

2010-02-19T22:31:00.000-08:00

Taking a break from packing for my Vegas trip ... I am reading Jeff Garlin's book "My Footprint: Carrying the Weight of the World," and I haven't yet made it through the whole thing to give it a full review, but I can say this: It does what any good comedy book should, and that's giving the reader the feel of the performer's voice -- meaning one can imagine while reading it that the prose was being spoken by the author.

So far, up to page 88, there have been a lot of laughs as Garlin carries out his premise -- that he will take on both dieting and being green at the same time to reduce his carbon footprint. He alights upon the kinds of things that could easily come out of his character's mouth on Curb Your Enthusiasm -- like Ed Begley Jr.'s saintliness for making driving a Prius hybrid car his fifth transportation choice, after walking, biking, public transit and a fully electric car. Or having to hire a coach to play sports with his son because he's too out of shape to do it himself.

If those two examples make you laugh, getting the whole book is a good bet. And its author is all over New York this coming week, with appearances at Barnes & Noble, 97 Warren St., on Feb. 23; Brooklyn's Bookcourt on Feb. 24; Caroline's comedy club Feb. 25-27; and the 92nd St. Y on Feb. 28.

Why I Should Be at Genesis' Rock HOF Induction

2010-01-27T22:34:00.000-08:00

I would like to take a moment to diverge from my blog's usual comedy subject matter to state my case for why I should be present for Genesis' induction into the Rock Hall of Fame in March. There is no bigger Genesis fan in New York City. I have been listening to their music since I was 11 or 12, and quickly discovered the Peter Gabriel-era material as a kid, even though I wasn't fortunate enough to have been of age when it was originally created. I've carried my love of their music well into adulthood, and I maintain that I even might have a had a little something to do with their 2007 reunion.

Hearing that Phil Collins would be performing on the Rockefeller Center Plaza for the Today Show in 2006, I trooped down there early in the morning and got a prime spot by the stage with a banner reading "Phil: Genesis reunion?" (with "Genesis" in the angled lettering of the band's best logo). Holding the banner high while Phil was between songs, I caught his eye, and got a shrug and a smile. But I like to think I planted the seed ...

So if the guys are out there reading this, please designate a seat for me in the Waldorf-Astoria ballroom March 15. I hope Phil and Peter both make it, even if Phil can't play drums right now.

Conan's Last Tonight Show

2010-01-23T15:02:00.000-08:00

On watching the last Conan O’Brien Tonight Show last night, after seeing one of the highlight montages of various stunts Conan had done in his seven-month run, including bits of the cross-country run through various landmarks that opened his first episode, it occurred to me that Conan had racked up more classic, truly funny highlights in seven months than Jay Leno probably has to show for 17 years.

Some of Conan’s stunts in this run -- being “bowled” down a lane and smashing into giant pins, tipping over rows of people in domino formation, and the like, definitely came from the line of Steve Allen and David Letterman stunts. Still others had Conan’s own personality to them.

20 years from now, or when Conan and Leno are both long gone, I’ll bet Conan’s work is going to be much more well-remembered and cited as innovative than Leno’s. And, in keeping with my takes on SNL, especially in this most recent review, I hope -- nay, predict -- Letterman and Conan should individually and collectively both trounce Leno in the ratings on his return.

As in the commentary linked to in my previous entry, sure, it could be said that all Leno ever wanted was the Tonight Show, and so one should understand his machinations now to take it back from Conan, but what was or is the point of having this show when Leno puts so little of his skills as a stand-up into making it a good program, rather than a middle-of-the-road accessible one. At least Conan pulled no punches.

Men of a Certain Age

2010-01-19T22:45:00.000-08:00

Awhile back, I pointed out that I thought Ray Romano had done a good job in the small independent film "Eulogy." In the past month or two, his talent for playing other types of characters, a shade different than the version of himself he played on "Everybody Loves Raymond," has come through on the TNT series, "Men of A Certain Age."

On this show, Romano, as actor and producer, mines comedy out of a different set of foibles -- those of a divorced forty-something and his two closest friends -- an out-of-work actor played by Scott Bakula and struggling husband and father played by Andre Braugher. Bakula's skirt-chaser is the diametric opposite of his best known role from the 1980s sci-fi show "Quantum Leap," and Braugher, too, plays someone different from his usual more kinetic detective and professional characters.

They provide unexpected good counterpoint to Romano's portrayal of his character's own struggles as a divorced dad -- shaping a whole episode recently around the re-telling of his first serious post-divorce date, interspersed as longer flashbacks between brief banter with Bakula and Braugher interrupting the re-telling. Imagine the banter of diner scenes from Tarantino movies, delivered by Tarantino-caliber actors, who know the right places to pause in delivering a line for utmost comic effect. That's what I'm seeing, week in and week out, on this show.

Booknotes and other notes

2010-01-10T18:29:00.001-08:00

Been several months since I've had time and ideas to blog about here ... A lot of other life stuff took over during the fall. So I'm just back on now to give a couple quick recommendations of comedy or comedy-related books, in lieu of full reviews, since these books have been out a couple months already.

Richard Belzer's "I Am Not a Psychic!" is his follow-up pseudo-detective novel, where he in effect plays himself solving a case, this time related to a decades-old murder and political scandal that swirled through Las Vegas. With this book, Belzer stakes a claim to making this concept or formula into a long-running series.

Tracy Morgan's "I Am the New Black," an autobiography, shows the serious side and struggles of the SNL and "30 Rock" star. Morgan lets his offbeat and loopy side, which is put to such good use on "30 Rock," come through in the pages. Morgan's got a strong point of view about being true to oneself in life, not just in comedy, and that also comes through in this book, which is what really makes it a compelling read.

Repentance

2009-09-29T17:28:00.002-07:00

Between the lines of the stories told in “Oops I Did It Again: True Tales of Transgression,” a program of short comedic monologues that followed the Kol Nidre Yom Kippur service at City Winery on September 28, was a universal behavior pattern we’ve probably all experienced.

That’s the feeling of knowing you’re going down the wrong, obsessive path, but being unable to stop yourself even as you’re doing it. Monologist Carl Kissin revealed this in his story of love gone wrong, describing how “I knew I’d gone too far when I was calling her analyst to try to get them to broker a truce between us.”

Comedian and monologist Ophira Eisenberg confessed to multiple calls to an ex, recounting her chirpy “Hi, David!” excitement on the phone then his sigh in response before even talking, and repeating that he still is with another girlfriend now. It still wasn’t enough for her though, she went on to say, adding how she went to a Haitian witch who gave her instructions for how to cast a spell to bring him back. “Because that’ll work,” Eisenberg said, in a knowing tone that only time can bring.

Just to be clear, self-flagellation wasn’t the only topic of the monologues that night. Rob Gorden delivered a vivid tale of craziness at a friend’s wedding ceremony; Mindy Raf peppered her atonement-themed song with Tiny Tim-like vocal flourishes and off-kilter lyrics, proving very entertaining; and Steve Zimmer had the most high concept atonement story about a transgression cheating on a science fair project in grade school, then finding unlikely forgiveness for this long-ago sin years later.

But really, as someone who does their atonement, or at least browbeating, all the time and has trouble summoning the desire to focus on Yom Kippur, the universal truth in this comedy show might have been enough.

Taking Woodstock

2009-08-27T09:10:00.000-07:00

When I posted online that I was seeing “Taking ..Woodstock..,” a few people were asking me how it was, and so ... I thought about this originally as a blog item, but it really turned out to be a full fledged review. Will add to www.jesterjournal.com later.

“Taking ..Woodstock..,” seen Aug. 26 in its early release in New York, is an entertaining, light take on the true story of Elliot Tiber, the proprietor of the upstate New York hotel who arranged for the legendary rock festival to come to his town after being run out of a few neighboring towns afraid of a “hippie invasion.” The movie falls a little short of being considered a four-star classic, but is a fun diversion nonetheless.

Dramatically, “Taking Woodstock” could have put a little more real conflict into Tiber’s struggles, as played by Demetri Martin, with trying to help his parents and figuring out his closeted homosexual life back in ....New York City..... The filmmakers and studio deserve credit for not wiping this aspect out of the movie entirely, although the marketing omits that, pitching the movie straight down the line as ....Woodstock.... 40th anniversary nostalgia.

Comedically, the movie sometimes turns to cartoonish slapstick in the form of Elliot’s parents, especially his mom, played by Imelda Staunton, who runs the dilapidated hotel aggressively, pinching pennies at every turn – and gets a lot of laughs in going after a couple of mobsters who attempt a shakedown when they see all the business the hotel is getting because of the festival.

Most other times, the movie’s humor comes out of little line readings here and there, and the characters’ reactions to each other. Liev Schreiber is a fun surprise as Vilma, the imposing transsexual who shows up to provide security, at the ready with a baseball bat to chase off townspeople who are angry with the Tibers for bringing the festival there.

The movie’s best scene, comedically or dramatically (maybe both), comes when Elliot’s dad, played by Henry Goodman as a weary, quiet man, tells him to go off and enjoy a little bit of the festival when it’s underway. It’s probably the one poignant, touching moment in a movie that could have had a couple more.

Montreal Comedy Festival, wrapping up

2009-08-01T10:53:00.000-07:00

The Just For Laughs Montreal Comedy Conference had a wealth of panels and discussions of interest to comedy fans, and before closing the book on all Jester's coverage, I'd like to get just two more little pieces out there:

In a panel discussion on the history and activities of the Upright Citizens Brigade, co-founder Ian Roberts pointed to the key selling point for the theatre’s now-vast training program. “We’re not just trying to make money with endless levels of classes,” he said. “The levels that we offer are there because that’s what we have to teach.”

With so many students, not everyone can be a star, even as UCB as a training ground is spawning more and more performers who are making the leap to TV and movies, or at least producing creative web comedy. The UCB training program has even gotten some criticism of “favoritism” or “cliquishness,” Roberts said. “C’mon, why would I be out to get someone? I want the people who are good on our stage. If you’re good, you’ll be up there.”

Also in the conference, Todd Phillips director of the mega-hit "The Hangover," generously gave of his time for a one-hour conversation including a Q&A with conference participants. … A pressing question, at least for this blogger, was how such seemingly different performing styles of the three leads -- Ed Helms, Zach Galifianakis and Bradley Cooper all coalesced. Simply a lot of hanging out before shooting, Phillips explained:

“We would all just constantly hang out together all the time, before production,” he said. “… and figure each other out so they could see where their roles fit with the others. … That’s a crucial part of directing when you’re making an ensemble film.”

Hijacked Panel

2009-07-24T10:00:00.000-07:00

At this morning's panel in the Just For Laughs Montreal Comedy Conference, on "Adult Animation Grows Up," Dino Stamatopoulos, creator and writer of the obscure show "Moral Orel," deftly hijacked the entire panel from the start (which included Dave Willis, co-creator of 'Aqua Teen Hunger Force'), snoring audibly into his microphone as the helpless moderator, Athena Gerogaklis, a Canadian TV animation production manager posed her first question on how all the animation show creators first pitched their ideas.

Stamatopoulos then proceeded to stroll off into the audience with his mike, rambling about a car accident and some other oddities, before getting around to his answer, without failing to note that before pitching, he had been drunk around the pool of the trendy L.A. hotel, the Standard. For all his unkempt appearance, Stamatopoulos did grasp inherently how panel discussions can get dull and sought to shake this one up. He didn't always quite succeed but at least got one laugh with the comment, "That's how DaVinci sold his 'Mona Lisa' show."

Montreal Comedy Festival report

2009-07-23T23:51:00.000-07:00

I thought at first I would break these all up into separate blog entries, but it may just end up being multiple stream-of-consciousness entries -- when it comes to covering the non-public business-side events and panels billed as the Just For Laughs Comedy Conference here in Montreal this week, that complement all the evening performances for the industry's participants.

In the first panel today, concerning comedy writing and how changing economics and distribution, especially through the Internet, are affecting how comedy writers do their work, I heard a word used I normally only hear in my other life as a financial industry trade publication journalist, and that is "fragmentation." The industry professionals on this panel, including the writer of "Tropic Thunder" and "Madagascar 2," a producer for the "Sarah Silverman Program," and Tami Sahger, a writer for "30 Rock" and respected improv performer, expressed and explored concerns about "audience fragmentation," as a result of the seemingly infinite choices of cable channels and the Web for comedic entertaiment.

The panelists debated the depth of comedy on video as a result of having to capture and cater to ever shorter attention spans. But they did have kind words for the technological advances' affect on comedy for making it easier for performers to gain exposure by shooting material on their own and on the cheap, just to get it out there.

Running out of steam a little right now, but will likely follow up on this entry with a look at the second panel heard today, which delved further into the Internet's potential as a new frontier for comedy.

H-B-lame-O

2009-07-12T15:42:00.000-07:00

Occasionally, passing by all the bills posted on scaffolding around the city, something sinks in as worth checking out. In the past couple weeks, I saw all these intriguing posters touting "ComedyFetish.com." Thinking this was a new comedy site, along the lines of Funny or Die, or SuperDeluxe, I finally got around to checking it out, and was disappointed.

ComedyFetish.com is just a collection of clips from various HBO comedy series, grouped by themes such as "Huge Misunderstandings," "Tantalizing Truths" and "Foreign Exposure." The whole thing is basically just one big promo for HBO series on DVDs, done under the very dishonest bait-and-switch of setting the whole thing up to look like it's new original content. Thumbs down, or 'boo,' or nominate them for Keith Olbermann's "Worst Person in the World" award, or however you want to pan the site.

Whatever Works

2009-07-02T05:37:00.000-07:00

I can't really put this up as a full review because it's already been out a couple weeks, but I do want to give a quick take on "Whatever Works," the Woody Allen movie starring Larry David, momentous for being a meeting of comedic minds.

I enjoyed a lot of the film, but I have to say, that especially for those who are more fans of David, it really loses steam after the first half, when David's character gets sidelined for awhile as Allen's script gets more into the machinations involving the other characters. This is after David, with his trademark dark comic bile, has thoroughly energized and sparked the movie, especially with a few long rants delivered directly into the camera, speaking purposefully to the audience with a knowing wink.

What could have been a four or five-star movie starts to fall a bit short of that, and closer to the category of being a more minor Woody Allen work, as the focus strays away from David. It turns out to be more of an entertaining experiment and less momentous as a movie than "Vicky Christina Barcelona" or "Match Point," out of Allen's recent films.

"The Hangover" for Best Picture

2009-06-16T18:51:00.001-07:00

Now this may sound like a joke to you, but I'm throwing my hat in the ring early by saying "The Hangover" deserves to win Best Picture at the Oscars next year.

Here's my argument: Why does it always have to be the multi-hour-long prestige films with serious drama, lofty takes on history or tearjerking dying/misunderstood saint-like character performances that always win these awards? Why can't the Best Picture be a movie that is purely entertaining through and through, and yes, a comedy, and funny?

"The Hangover" had all of this. Yes, it's rude, transgressive, dirty-minded but consistently and constantly surprising and funny all the way through. That's good screenwriting too. In fact, it's probably harder to pull off. [Spoiler alert]: And what other movie are you going to see this year that would have an effeminate naked Asian crime boss pop out of a car trunk and start viciously assaulting the main characters?

And where other comedies may have great dialogue and scenes for about three-quarters of the way, they tend to fall into the last act trap of neatly tying everything up so the nominal hero has everything work out for them. "The Hangover" does have everything working out in a way, but not in the pat way you would expect, maintaining the surprises and the fun right into its closing credits.

So, a memo to the Academy, come nomination time, put aside your Benjamin Buttons, your Sean Penns -- and the need to reward, as Kate Winslet once famously put it on "Extras," "playing a retard" -- and give "The Hangover" its due. I'll bet you won't find a more solid, re-watchable movie in all the high-minded stuff that hits this fall.

Forbidden Kiss

2009-06-07T10:49:00.000-07:00

Caught the "Forbidden Kiss" erotica series at Stage Left Studios last night, especially because a few of the pieces in it are comedy. One especially notable piece was Brian Longwell's stand-up comedy-type piece, "How Not To Be An Online Dating Loser." Longwell had Cosby-like cadences in his voice -- whether those are affected or just how he naturally talks, it's hard to know. But nonetheless, Longwell had his own persona, presenting hand-drawn slides of flowcharts of how losers and winners navigate the online dating scene.

Another highlight on the bill of eight separate pieces was Katie Northlich's sex therapist character, a manic and brassy bundle of energy, who seemed to revel in being lewd and shocking. Northlich was once profiled on Jester in 2005 for her character showcase show (see http://www.jesterjournal.com/Northlich.htm).

But my favorite piece of the night was The Bitter Poet -- still have to find out his name -- whose electric guitar accompanied heartbreak songs were definitely laugh out loud funny. His closing song of three featured a long John Cale-like half-spoken, half-sung monologue about Marg, an Eastern European lover who meets him for a week in Amsterdam, and how they tour the Rijksmuseum together. Great stuff.

James Ellroy

2009-05-31T14:30:00.001-07:00

Didn't think I would get a comedy-related blog item directly out of attending the Book Expo this weekend, but a great moment happened out of going for crime novelist James Ellroy's autograph at his publisher's booth yesterday.

Unlike a lot of the other authors who sign at the convention, Ellroy, by the time I made it up to him in the line, seemed to be conducting an hour-long stand-up act/profane circus barker monologue where signing was beside the point. Gesturing with a twinkle in his eye, he said, "Do you want to hear a joke?" as he invited booth staff and everyone near the head of the line to listen in:

A lion is fucking a zebra in the jungle, and the zebra's husband comes along. 'Quick,' the zebra tells the lion, 'pretend you're killing me.'

A pause settles as everyone realizes that's the drier-than-dry punchline. An apt joke coming from the author of such dark fiction.

Not to knock authors without such animated patter -- grateful that they do sign -- but a close second to Ellroy in booth patter was Elliot Tiber, author of "Taking Woodstock," his true-life story that is the subject of an upcoming movie starrting Demetri Martin. Tiber seemed to have running jokes going with two staff members working in the booth with him, and spying me, asked if I was sure I was over 18 and old enough to be reading what's in the book. "Don't look at page 46!" With a smile, I told him I'd be sure to turn to that page first.

Romantic misadventures

2009-05-27T21:31:00.000-07:00

Nearly a year ago now, I dabbled not so successfully in stand-up comedy at open mike nights, but it was valuable for trying my hand at writing my own personal stand-up material, inspired by my own experiences and perceptions, just like many stand-ups do.

I'm not actively writing this stuff now, but every once in awhile have a thought or two that could be worked out on a stage, and I just had a couple I thought I'd put out there.

I guess I'll never understand the objections some dates had. These were sort of in-between relationships, not just one blind date that didn't click, or a full-fledged relationship of some months or more, but one of those little pseudo stillborn things that took a little longer to not click. In one, I should have known when I tried to hold hands on a date -- not a first date -- and got an objection, "what are you doing?" Yea, I'm trying to hold your hand and be romantic, that's so terrible ...

Another time I saw a date into a cab, and kissed her goodbye, and she said, bland and businesslike, "thank you." Who reacts that way? I didn't get it.

Anyway, those are the two bits. I don't know if they would be helped or hurt by delivery in person, or if they play well in print, but consider them a few stray pieces of that stand-up career that never was.

Parks & Recreation

2009-05-03T20:00:00.000-07:00

The pseduo spin-off of "The Office" on NBC, "Parks & Recreation," is getting a faster start than that show did, as it spent its first several episodes simply recreating what happened on the BBC original.

With Amy Poehler in the lead, P&R uses the same documentary and interview style as The Office, and its creators are already having a lot of fun with the incompetence of some of the characters. Supporting player Nick Offerman makes an impression as Poehler's boss, a right-wing anti-government true believer who just happens to work for a government. Jester noted his gift as a completely different type of character on the short lived Comedy Central show, American Body Shop, where he played a spacey savant mechanic and was the only good thing about that show.

Also, Aziz Ansari, another Upright Citizens Brigade-spawned performer, gets more screen time and gets to do much more than on his brief stint in the final season of "Scrubs," as a subordinate who enjoys undermining Poehler and sucking up to Offerman. And UCB player Lennon Parham (see interview: http://www.jesterjournal.com/IntParham.htm) had a memorable cameo on the show recently, as an opponent of Poehler's park plans.

Just as great Daily Show and UCB players have added to "The Office," "Parks & Recreation" benefits from a premise and situations that might be spawned in improv performances that the UCB is known for.

Finding Bliss

2009-04-07T23:25:00.000-07:00

A couple years ago, Jester really ripped into Jamie Kennedy for his documentary, "Heckler," (see review, 4/29/07) that was a response to critical drubbings some of his movies got.

But with a small role in the as-yet-undistributed "Finding Bliss," which closed the Gen Art Film Festival tonight, Kennedy redeems himself by delivering with smart timing the dialogue he has playing a dumb porn star. It's the little things he does, like mistaking 'thrust' for 'trust' and deflating the naive hero of the movie, played by Leelee Sobieski, when she talks up the delayed sexual gratification that is the subject of her character's film within the film -- by summarily dismissing that as "blue balls."

"Finding Bliss" may not be the most substantial movie or greatest comedy classic ever, partly because of some obvious turns in the story, but it's a fun flick. Jamie Kennedy's part in it contributes to that sense of fun and sense of play seen onscreen.

God of Carnage

2009-04-02T08:37:00.000-07:00

"God of Carnage," the new play on Broadway by Yasmina Reza, featuring Jeff Daniels, Hope Davis, James Gandolfini and Marcia Gay Harden, like Reza's previous long-running hit, "Art," seen years ago, takes a seemingly simple conflict and spirals it out into illuminating dark comedy. In "Art," it was three middle-aged friends' debate over an abstract painting one bought, and in "Carnage," it's two sets of parents trying to resolve an incident where one's son knocked out the others' son's teeth.

Reza uses the premise to unwind the inevitable differences between couples, no matter how good they might seem together. The cast puts so much physical energy into their performances that you feel not just the words, but their impact. Gandolfini and Gay Harden draw a little bit on previous characters -- maybe this production is a bit tailored to them -- Gandolfini the obvious one and Gay Harden, very similar to the harpy she played in "The Mist" -- perhaps by design.

The show's dark comedy comes from the way the husbands and wives alternate both going at each other and the other couple, and at times siding with their own mate in the arguments and at other times, the others' spouse. Reza's lines, coupled with the actors' commitment, makes it all come alive and brings out that wry humor all at once.

Bill Hader

2009-04-02T01:10:00.000-07:00

I do like to or tend to critique or rant about SNL, but here's a recent bit, where they really get it right, in no small part due to Bill Hader's talent. This sketch takes a simple tone of voice and inflection and gets all the absurdity possible out of that -- and doesn't drag or overdo it. It's written economically & compactly. Enjoy.

2009-03-26T22:45:00.000-07:00

Seeing Tom Davis recall what he could of his years as a key writer for Saturday Night Live, both in the 1970s and in the late 1980s and early 1990s, in an appearance promoting his memoir "39 Years of Short-Term Memory Loss: The Early Days of SNL from Someone Who Was There," at the 92Y Tribeca tonight, really reinforced a critic's conviction that Lorne Michaels really does sometimes suck all the air out of comedy on the show.

Case in point -- Tracy Morgan's recent return as host, in which the opening sketch where he has trouble clearing security to get into 30 Rock was probably the only good piece Morgan was in. Morgan's old recurring character -- this points to Michaels' penchant for recurring characters ad nauseum -- Brian Fellows, was never all that funny. Since Morgan's part on "30 Rock" and that show itself, became a hit, it's become all the more evident that Tina Fey knew far better how to tap Morgan's ability to be absurd. Morgan also shines when he's a guest on Letterman as well. It almost seems like everybody but Michaels knows what to do with him.

Anyway, back to Davis. He did note Michaels' love of recurring characters, adding that he much preferred having the cast serve the idea of a sketch rather than the other way around, which is what happens with character pieces showcasing a performer instead. And in a couple old clips Davis had as part of his appearance, one saw the perfect case in point -- one of the "Franken & Davis Show" segments Davis wrote with old partner Al Franken, which imagined a male beauty pageant featuring the duo, with Belushi, Aykroyd and Bill Murray interspersed among several extras, all as contestants. Belushi had one little line thanking the host -- albeit delivered as if he were a kid thanking his mommy; and Aykroyd and Bill Murray had no lines at all, merely holding a punching bag for Franken to run into repeatedly, acting like a football player for his talent.

Delightfully stupid as this bit was, it had way more laughs than anything misusing Tracy Morgan. Davis in his middle age does give a sense that he could have been a cantankerous pain-in-the-ass to Michaels as a writer, but Davis' convictions about comedy could have been more on the mark.

Jimmy Fallon

2009-03-03T21:28:00.000-08:00

Caught up to the premiere of Late Night with Jimmy Fallon from last night, and it's actually a lot more promising than I thought it would be. The only segment that was really weak was the "Lick It for Ten," that had three audience members licking a lawnmower, a copy machine and a bowl of goldfish (not even the inside of the bowl) to win $10. And all three licked pretty tame surfaces, like the outside of the mower and the copy glass -- it wasn't like Jimmy made them get in there with the toner or the engine oil.

Also in the gags at the top of the show was a bit about blonde Connecticut moms, that was also just O.K. ... The strongest parts of the show came largely through its guests, namely a classically awkward cameo at the beginning by Conan O'Brien, still around to clean out his office; and guest Robert De Niro mocking Jimmy with his own impersonation. Another highlight was actually provided by Justin Timberlake, taking Fallon's Barry Gibb as a jumping off point for a few musical impersonations -- of John Mayer and Michael McDonald -- that were dead-on. It reminded viewers of Kevin Spacey's appearance on SNL parroting Jack Lemmon, Walter Matthau, Christopher Walken and others.

The Roots, who have gotten a lot of press for becoming the house band for Fallon's show actually very nearly saved the "Lick It for Ten" segment, playing some sexy funk music under the action. And in backing Timberlake's impressions, and at other points in the premiere episode, showed they can pull from a vast repetoire to complement the host.

Fallon's show isn't quite as good as Conan O'Brien became over the years, but it's definitely not a Chevy Chase crash-and-burn train wreck. (Anybody remember that?)

Louis C.K.

2009-02-12T14:11:00.000-08:00

A quick note or recommendation -- Louis C.K.'s most recent stand-up special, "Chewed Up," now on DVD, is quite masterful. Right from the start, the comedian, who also created the unique but short-lived HBO sitcom, "Lucky Louie," (see review: http://www.jesterjournal.com/site%20pages/LuckyLouie.htm), dives into forbidden words in an intelligent way. Beyond that, Louis C.K. gives an insightful every-guy's take on being married and raising kids, amazed at the quantity of poop to be cleaned, for one thing. ... He may be mining the usual observational humor staples, but Louis C.K. goes at each and every one of them in an original way.

50 First Jokes

2009-01-04T17:58:00.000-08:00

For a few years, I've gone and checked out the Poetry Project's New Year's Day poetry marathon, but this year I guess I just wasn't up to it. But a good repeat from last year was the 3rd annual 50 First Jokes performance on January 3 produced by Claudia Cogan, Jiwon Lee and John F. O'Donnell, upgraded from the Creek and the Cave venue in Astoria, Queens, to the downstairs room at Webster Hall in Manhattan this year.

With 50 comedians each delivering the first joke they wrote for the new year (the rules ostensibly are that their bit has to be written only after the stroke of midnight on January 1), naturally there's a wide range of types of performers, but one that truly stood out, yet again, is Kumail Nanjiani, last seen just a few weeks ago opening for Zach Galifianakis at 92Y Tribeca (see http://www.jesterjournal.com/ZachG92Ytribeca.htm). Similar to a bit abut horror movieshe delivered then, Nanjiani now had his take on the new movie "The Curious Case of Benjamin Button."

Referring to the fact that Cate Blanchett's character in the movie is only telling the story finally from her deathbed to her granddaughter, about Benjamin Button, the character who aged backward, being the love of her life, Nanjiani exclaimed, "And she's waited till she's dying to tell anybody about this? I would tell everyone I met, all the time! 'Hey, I'm Kumail. ... I know this guy who ages backward! Look at this Polaroid from 10 years ago! And this is him now!' "

I don't think I'm alone in appreciating his stand-up either. Nanjiani got one of the strongest reactions from the audience of any of the comics. Others certainly are accomplished and made their own marks on the show -- Livia Scott (see interview from 6/18/07: http://www.jesterjournal.com/IntScott1.htm) debut a new character, a vapid pop singer; Tom Shillue had his own take on "I Saw Mommy Kissing Santa Claus;" Matt McCarthy got physical in acting out rock music he thought would be a better score for conspiracy theory videos; and Sara Benincasa told a short story joke about a dying gay uncle who worked in a diaphragm factory (only in New Jersey could that happen, possibly).

But the "takeaway" from the night is definitely that Nanjiani has got something special. The kid is going places.