There is a great deal of heart — and other select body parts — in Broad Comedy, the way way left of center review currently running on Mondays at the Soho Playhouse. If the concept of a senior talking vagina giving dating advice to a teenage model of the same makes you laugh, this one’s for you. The program is heavy on the sex jokes plus witty cultural observations and of-the-moment politics. It’s distinctly “blue” in both the moral definition and also in the sense that the work is definitely not for the ears of anyone who voted Republican in 2016.
Musical comic, actress, author, speaker, and social activist Katie Goodman stars, delivering a high octane series of sketches, songs, and musical bumpers co-written and directed by her husband, Soren Kisiel. Her chatty rapport with the audience is genuine and delightful. She is flanked by a talented all-female ensemble, which in New York consists of Danielle Cohn, Molly Kelleher, Tana Sirois and Carlita Victoria. All have big smiles, strong voices and perfect articulation. The acting is at an early student level, but this isn’t intended to be Ibsen.
The lyrics rely heavily on the use of the F-word. There are also long asides recited over a single note in almost every song. These devices seem lazy given Goodman’s clear and strong opinions. Most non-musical sections bring a smile and several are big-laugh worthy. At a few intervals, Goodman asks the audience to participate, though mine was decidedly shy. Gags include the aforementioned wise vaginas and a team of uncooperative dancing boobs. Of the routines that stem from higher chakras, the right wing cheerleaders (pictured here) are among the most fully drawn. The modern twist on Vanilla Ice’s theme is genius. Another skit in which characters speak in Siri is just right. The only bit that fell completely flat featured two literal empty nesters who contemplate getting hooked on painkillers. This is one topic for which no amount of distance is enough.
The production values are stronger than one would expect in a stripped down vehicle. The show moves speedily, with the players making so many quick changes into cleverly designed costumes that at one point Katie had to check to make sure she was wearing a skirt. <She was.> The cute choreography is skillfully executed with the cast handily managing everything from baby carriages to guns. Only the scene changing soundtrack featuring Ariana Grande, Kay Boutilier and others of that ilk is ill-conceived given its glaring contrast to the style of the main event.
When you get tied of yelling along with Rachel Maddow, get out of the house and over to Broad Comedy. $35 tickets for performances Mondays at 7:30 are available now through March 26 and can be purchased at www.sohoplayhouse.com. After its current New York engagement, Broad Comedy will continue touring nationally, and at some stops will be raising money for feminist causes including Planned Parenthood. For more information on their ongoing adventures, please visit www.broadcomedy.com
Many of us have experience working with someone who’s a big picture dreamer. Unchecked by a healthy skeptic — much less an opponent with a better idea — they good-naturedly lead their team down a path to The Emoji Movie or Pets.com. Greg Pierce starts out telling one such story in Cardinal in which Lydia Lensky returns to her hometown with the wild idea of literally painting it red. With tremendous enthusiasm and few facts, she persuades the locals that this gimmick will attract tourism and new business.
When I lived in San Francisco, I volunteered at a residential program for former felons. I realize this makes me more likely to respond to the plight of bright creative people who make terrible decisions and are helped along that path by a lack of education, support and resources. Judging from the emotional reaction of audience members around me, these characters are so beautifully detailed, their situation will draw you in just because you are human.
If the notion of a twelfth deuce point doesn’t tie your body in knots of exasperation mixed with exhilaration, Anna Ziegler’s The Last Match may not be the play for you. The tightly woven story of two couples whose lives revolve around professional tennis relies heavily on having at least a basic understanding of the sport. For those who are fans, it makes for an engrossing 100 minutes.
Though obviously embellished, Schenkkan’s premise is firmly rooted in current headlines. There are references to true life incidents from as recent as February of this year. Unfortunately, his dialogue — no doubt hastily written — is not realistic and often sounds like a PowerPoint lecture. There is an additional challenge in having only one of the characters with something concrete to say. The events are all in the past, with no action or dramatization of scene. We get a few flashes of insight into Gloria, but for the most part Ms. Tunie is stuck asking, “why”. Alot.
The Unforgettable Line 