Last night at Manhattan’s East River Park, the legendary Lyricist Lounge continued their 20th anniversary celebration with a free show featuring two of Hip-Hop’s all-time greatest producers and deejays, Pete Rock and DJ Premier. Hosted by Lyricist Lounge founders Danny Castro and Ant Marshall, the show was dubbed “Pete Rock vs. DJ Premier,” though it was really less a battle than a collaborative showcase. Castro began the show by schooling the audience on a bit of trivia about the East River Park bandshell, which is where the finale of the 1983 Hip-Hop classic “Wild Style” was filmed.
Unfortunately, before they could get into the golden era of ’90s Hip-Hop, including the promised battle of their own productions and a promised special guest rapper (who, based on the outstanding scope of their past collaborations, could have been virtually any heavyweight emcee still alive and breathing), there was a power failure that brought the show to a premature end. I thought it was a gimmick at first, and much of the crowd began chanting “Hip-Hop,” as if our true belief could bring the lights and sound back on. Sad to say, in a city with subways full of ads featuring the slogan “Never be powerless,” the promoters and technicians were unable to bring the show back. It was a disappointing ending to an otherwise enjoyable evening of music brought to us by two of the greatest deejays alive.
Hosted by Zach Galifianakis at his most awkward, “Between Two Ferns” represents what television talk shows might actually be like in a much more interesting world. Filmed to look like a low-budget public access show, but with big-name celebrity guests, the series mines uncomfortable humor to the fullest. Galifianakis frequently mispronounces the names of his guests and openly insults them, creating an environment of hostility that often feels almost too real. When not blatantly mispronouncing names, he is prone to making intentionally terrible puns out of them, like when he asks Jon Hamm if his middle name is “Honey-Baked,” or if he has considered changing his name to something like “Stewart Turkey-Link.”
The discomfort starts strong right out of the gate in the first episode, in which Galifianakis basically molests Michael Cera. There is a common thread of one-sided sexual tension in many of the episodes, and certainly not just with the female guests, though it may be strongest in the episode featuring Natalie Portman. It is a testament to her skill as an “acteress” that this episode is one of the most authentic, as if she were actually just in the midst of a nightmarish interview set up by the most incompetent agent imaginable. Other episodes are more clearly staged, and perhaps the weakest is the one with Will Ferrell, if only because the two are generally too chummy with each other, at least until the end.
The series is at its best when Galifianakis is openly hostile to his guests, like the episodes featuring Ben Stiller and “Brad Lee Cooper.” Though this hostility is common throughout the series, only “Conan O. Brien” gets an explanation, which is that Galifianakis thought he had a shot at “The Tonight Show.” Another especially convincing episode features Galifianakis’ “twin brother,” Seth, interviewing a wooden-faced Sean Penn, who really seems like he might haul off and punch Galifianakis at any moment. As with Portman, it is Penn’s acting skill that pulls off the joke so well.
A pitch-perfect spoof of bad, desperate public access talk shows, “Between Two Ferns” is easily one of the best offerings from the always enjoyable Funny or Die. Even the opening and closing theme music feels authentic, though it is actually lifted from Bernard Herrmann‘s “Taxi Driver” score, which adds to Galifianakis’ creepy, angry vibe. I’m not sure how well it would work as a full-length show on television, but in the small segments available online, it is hilarious.
The Upright Citizens Brigadetheater, nationally renowned as one of the absolute best resources for improv and sketch comedy in the country, presented a couple of its best troupes last night in New York City’s East River Park, as part of the annual SummerStage festival. Showcasing two distinctly different collectives with a brief intermission, the show was a great example of how good improvisational theater can be when carried out by skilled performers adept at thinking on their feet. It was a unique treat to be in attendance, especially since this particular show will, by definition, never be seen again.
The first troupe, known as The Pox, followed the format of UCB’s celebrated “ASSSSCAT!” show, featuring a monologist telling a personal anecdote based on an audience suggestion, followed by a series of improvisational sketches based on that monologue. Their skits revolved heavily around the experience of out-of-towners visiting New York, such as a scene in which a tourist is robbed at gunpoint in Central Park, then decides that video of the robbery would be a great souvenir of his visit and begins directing the robber while his friends film it. Another highlight was a sketch in which a teacher ruins the joy of swearing for her twelve-year-old students by telling them that Shakespeare coined many of the English language’s best curse words. One of their best ideas, however, was the last scene of the first set, in which a man gives god credit for everything from work promotions to his wife’s pregnancy (“No, I think I knocked god up … or god knocked himself up”), then likewise shifts the blame for a car accident in which he is at fault onto the almighty.
The second troupe, Sandino, was even better, weaving their sketches seamlessly together into a bizarre, alternate-world scenario until, by the end, they felt less like random sketches than cohesive scenes in a play. Using a shouted audience suggestion, “P90X” (which further research tells me is some sort of workout program for which I am undoubtedly too lazy), Sandino improvised a dystopian tale of a world in which robots are programmed for only three functions – rage, sex and boredom – and people have jobs like drunkenly dancing nude in glass towers. Though the set begins with two of the performers working out, the phrase “P90X” ended up referring to a prisoner who has become a problem for his captors, one of whom suggests that the solution is to let him loose in Detroit and see who survives, him or the city of Detroit. This is all part of an evolutionary experiment he feels is vital to the human race, and later this same character reappears to serve an arsenic-laced dinner to a friend, for the same reason. “It’s not a lethal dosage,” he insists. “It’s just going to hurt real bad.”
It’s truly amazing how well Sandino incorporated elements of all their sketches into one large narrative, to the point that the final revelation that prisoner P90X is actually Virgin Group mogul Richard Branson (who designed the boredom robot in order to gain perspective on his overly exciting life) made perfect sense. This is a tremendously talented group of performers, and while I feel privileged to have attended their only performance of this specific material, I certainly hope a video recording is made available in the near future.
The WIGS channel on YouTube could unkindly be called the online equivalent of television’s Lifetime network, specializing in stories of the lives of women that are, ironically, primarily created by men. The first of these web series is “Jan,” created, written and directed by Jon Avnet, who is probably best known for producing hit ’80s and ’90s films like “Risky Business” and “Fried Green Tomatoes,” the latter of which he also directed. Like the superior “Blue,” “Jan” is simply named after its lead character, Jan (Caitlin Gerard), an aspiring photographer who has just gotten what might be her big break, so long as her life doesn’t get in the way.
Jan works as an assistant to Mel (Virginia Madsen), an established photographer whose latest project is a book called “Afterglow,” which is a collection of shots of women immediately after the completion of sexual encounters. The first session features British movie star couple Gery (Stephen Moyer, best known as Bill Compton on HBO’s “True Blood”) and Andie (Jaime Murray, best known as Lila Tournay on the second season of Showtime’s “Dexter”). Gery seems to immediately like Jan and, when Mel is preoccupied with a phone call at the crucial moment, he convinces her to take the shots instead, which leads to Jan being fired. Luckily for her, deadline pressures from the magazine Mel works for causes her to rehire Jan, though Mel takes the credit for the photographs and warns Jan that she is on thin ice.
Jan also has a junkie boyfriend, Robbie (Kyle Gallner), who is constantly pestering her and her roommate, Vanessa (Laura Spencer), and complicating their lives. This subplot should make the series more interesting, but what it mainly does instead is make everything feel less focused. The tone of the entire series is very uneven, and quirks like Jan’s initial clumsiness and her habit of getting the hiccups when she’s nervous come and go without ever really going anywhere interesting. Likewise, the late addition of a new boyfriend for Jan feels inconsequential and tacked on, despite the conflict it would seem likely to create with Robbie, the ex, and Gery, who flirts openly with Jan and drops by her place to take showers (another contrived quirk that feels less than genuine). All in all, the stakes are never really high enough, nor is Jan a compelling enough character to make this series particularly worthwhile. Check out “Blue” instead, if you want to see what the WIGS channel is like.
The series starts strong with its first episode, “The Focus Group,” in which Jack’s boring speech delivery style is hurting his poll numbers as well as his team of handlers watching the speech from campaign headquarters. However, when Jack experiences a slip of the tongue pronouncing a certain state name, his polls soar, and the handlers land on a brilliant strategy for the campaign. Ending with a jaunty theme song briefly introduced at the beginning, this episode nicely sets the tone for what’s to come, and the series continues strongly with a similar idea in its second episode, “Prostitute.” An innocent mistake in which Jack tries to help a woman in need, only to be railroaded by the media when she turns out to be a hooker. Perhaps the best moment of the episode comes when Jack asks his handlers, “Is a good person helping out a stranger so hard to believe?” and the answers comes back as a resounding “Yes!”
After the third episode, “Poster,” which features a really well-done sight gag at the end, the series takes a slight dip in quality. The fourth episode, “Mustache,” is well-played but basically just builds to a very predictable joke, and the same could be said of the fifth episode, “The Announcement,” which is even weaker. This is sort of the problem with the web series format, at least for this series; the characters and situation are strong enough to build an actual, full-length sitcom from, but the two-to-four minute episode format of the web series only leaves room for essentially one joke per episode. Some of the jokes work better than others, but Cranston and company always give it their best, and “The Handlers” is worth a look, especially in its first three episodes.