The laughter also comes from the rat-a-tat script that keeps pop-culture references flying, from the “Star Trek” Cardassians to the “Match Game” TV show. Day is humorously reactive in the face of Pugh’s brashly self-absorbed blowhard. This two-hander by Jarman Day and Stephen Pugh is worth the price of admission just to see the performers go full throttle in their characters. The whiplash changes in tone unsettle, and although the “Les Miserables” source material - Victor Hugo’s 1862 novel - was certainly concerned with issues of social justice, they sit uneasily in this undertaking.įinally, in “Waiting for Gadot” (Brown, 60 minutes, highly recommended), two fanboys eagerly await the arrival of a certain “Wonder Woman” movie star. If it’s serious, why is the first half of the show played for easy laughs? If it’s a bit of fun, why are musical numbers staged in front of prone actors portraying slain activists in the Black Lives Matter movement? But a fundamental flaw in the show, directed by Jamie DeHay, is that it’s unclear or unsure whether it’s a campy parody - as one would expect from the concept - or meant to be taken seriously.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |