In this episode of Block Talk, I chat with Robyn Banks about everything Jawbreaker, her new album!

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By Michael Block

They say timing is everything. Between the winter Olympics in Pyeongchang and the Oscar nominated film “I, Tonya,” bringing back Zackary Grady’s Toe Pick is truly a no brainer. With the Tonya and Nancy story on the mind, audiences are eager for any sort of retelling of this historic moment in pop culture. Playing Dixon Place, and surely beyond if producers are smart, Toe Pick is a theatrical recounting of the whack heard round the world.
The entirely transcribed play by Zackary Grady chronicles the lead up to the whack, the incident, and the 1994 Olympics. Smartly curated by Grady, Toe Pick is a fabulous examination of pop culture and how society looks at it. Using various sources as the dialogue, Grady is able to tell the infamous saga through the lens of media. With over 30 characters portrayed on stage, the major and minor players are present, though some could use a little bit more meat and presence. Directed by Christopher Murrah, Toe Pick is rooted in camp, but seems to shift tone on a dime. Toe Pick inherently is funniest in its campiest moments. While it could be streamlined a tad, the ice skating bit, choreographed by Adam Fleming, is easily the crowd favorite. Preston Martin’s Nancy Kerrigan is near perfection. When the world is heightened, Toe Pick wins gold. When sincerity is introduced, it doesn’t reach the level it needs. Should it be amplified, the piece will be complete. Everything and everyone is big with the unfortunate exception of Tonya Harding. She is the eyes into the world with the framing device, and yet there are moments where she doesn’t seem to be living in the same world as the other characters. Played by Grady, Tonya might need a slight reimagining due to the nature of the show. She is presented as a bit sweet and, shockingly, levelheaded. Highlighting the less lady-like, tomboy nature of Tonya can expose more comedic elements of the character.
Christopher Murrah staged this piece like smoothly. He hit the comedic notes that were necessary to make this play unique. Whether they were outwardly overt exaggerations of characters or having a remote control Zamboni “clean the ice,” Murrah ensured the audience laughed along with the situations. To ensure that the references landed, the personas needed to be instantly recognizable. Costume designer Tyler M. Holland and wig designer Kenneth Griffin nailed it. Whether it was Nancy’s infamous “why” white leotard, Oksana Baiul’s heinous pink costume and unruly hair, or Tonya’s finally fancy Olympic attire, matching these looks to the moments were essential. The only theatrically exaggerated look that didn’t seem to match the world were the reporters suit jackets with the newspaper and magazine shoulders. Compared to the rest, it was a bit jarring. Like drag, reveals get a crowd going and there were many outfit reveals. Saving Nancy’s white costume for the Olympics and not her whack was a bit of a misstep. Murrah made the play move swiftly, and scenic and prop designer Dan Daly made sure to give the assist. Daly provided the essentials to suggest location without being overwhelming. Lianne Arnold’s projection design included elements of the original broadcast scoring, which added an extra boost to the world.
The Tonya and Nancy story is like any classic duo. There’s a protagonist and antagonist. While you could say that circumstance was more of the antagonist than Tonya was, you can’t deny that Nancy Kerrigan was America’s sweetheart. With an image like a princess, Nancy could do no wrong. So how can you make this slightly awkward girl funny? Just ask Preston Martin. Martin was absolutely exceptional and the true star of the show. Between his mannerisms and the uncomfortably unintelligible mumbling made his Nancy brilliant. Jenn Harris as Lavona Golden, Jane Pauley, and Katarina Witt brought her unmatched brand of comedy to these iconic personas. It’s easy to think of a certain someone’s portrayal of LaVona but Harris made it her own explosive character. Cathy Ang taking on a trio of skaters and Connie Chung was the unsung hero of the play. Her comedy was subtle but strong. The fiercest of the utility players was easily Brennan Caldwell. He found ways to separate each of his characters while making you do a double take and question whether it was a new performer almost each time. If you closed your eyes, you might have thought Scott Hamilton and Verne Lundquist were actually in the theater with you. Alas, it was not, it was Kevin Cahoon and Isaac Oliver respectively. Vocally, they were beyond on point.
Toe Pick originally premiered four years ago at Ars Nova coinciding with the previous Olympics. Returning four years later was a smart choice. Toe Pick should not wait another four years to be seen again. With a few fixes, this show deserves to skate on.

It is my great honor to welcome the legend herself, Paige Turner, to Block Talk! We dive into everything from So You Think You Can Drag to Shade: Queens of NYC to her latest show, Drag Me to the Top.

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It's the day of the show and yet that didn't stop Drew Lausch from joining me on the latest episode of Block Talk! We chat about his newest stand up adventure, Homo You Didn't!

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By Michael Block

Weddings. They bring family and friends together to celebrate the bond of two people in love. But the legal union of matrimony isn’t always for everyone. We all may have that right in this country today, but in certain cases, some people are better off on their own. Enter Gerry, the main character of Drew Droege’s Bright Colors And Bold Patterns. Playing the Soho Playhouse, the return of Droege’s hilarious comedy continues to resonate despite a slightly dated message.
Gerry is invited to the wedding of Josh and Brennan. He and his old friend Dwayne, along with Mack’s boyfriend and his ex Neil, rent a house nearby. As soon as Gerry arrives, he starts talking about everything and seemingly never stops. A thesis in post marriage equality, Gerry questions why a big celebration and why marriage at all, ignited by the attire request on the wedding invitation. Bright Colors And Bold Patterns is Mr Toad’s Wild Ride of solo comedies. Droege’s writing is snappy and accessible. In a way, Gerry represents an “everygay” stereotype. Sure, this may offend some as the character of Gerry can simply be called “extra.” The conceit of the show Droege drafts is Gerry is the only seen character. He interacts with a trio of others despite not being present to the audience. So are these people real, unlike Gerry’s imaginary boyfriend he eventually reveals, or is he conducting the conversations he wishes he could have? The ambiguity plays highly into Droege’s quick tempo comedy, aptly directed by the brilliant Michael Urie, a sharp comedian in his own right. The combination of Droege and Urie is quite possibly why this production moves as swiftly as it does. With only one moment of reprieve for the audience, and actor alike, once you strap your seatbelt on, you’re off to the races. Droege bounces from menial stories to personal exposition to significant hot topics by balancing the weight for the audience without becoming daunting or overwhelming. The title of the play refers to a line on the card regarding the wedding attire. It is something shocking to Gerry. How dare anyone try to hide the pride at a wedding? This request plays a big part of the story yet it never fully resolved itself. We never quite get to see what Gerry is going to wear. Though, you can assume it’s up to us to decide. Will Gerry submit or is he playing by his own rules?

photo by Russ Rowland

Wearing two hats as writer and performer, Drew Droege seamlessly balanced the two. The character of Gerry is a loose lipped, mile-a-minute person who seems to have lost his filter. You might say he has verbal diarrhea. He’s the sort of person who has a plethora of thoughts, but when they leave his mouth, it’s certainly unrehearsed given the tempo and frequency of his observations. Droege is a high energy performer who has the ability to make his material fresh and new, fitting for this character. Droege crafts a character that is able to read anyone in the room while still remaining genuine. There is immense difficulty by being the sole performer on stage that is required to engage in conversation with unseen people. Droege remains present while listening to his imaginary scene partners. And this is a big part of where the comedy comes in.
Pairing Droege with Michael Urie is a winning combination. Urie pilots Droege through his unhinged character and his rollercoaster writing. Dara Wishingrad has designed an exceptional poolside getaway. It’s colorful splashes of white and blue mixed into the outdoor furniture sets a relaxing ambiance that easily puts your mind at ease. Wishingrad’s brilliant use of depth is extended into the depths of the stage which allows the audience to get a glimpse of the inside of the house. If ever there was a misfire, it’s the unfortunate black platform used to raise the dining table and chairs. The umbrella naturally gives levels and Urie only has Droege use the area late in the game. While it’s fine that the stage is black, there needed to be something, even if it was artificial grass, to cover up this evident theatrical platform.
Bright Colors And Bold Patterns is a mostly satisfying comedy that keeps the mind racing. In its return engagement, Drew Droege maintains the fun and quirkiness of his script. While it desires to be a beat or two shorter, Droege’s accessible commentary keeps the play current.

Every wonder what happens when you don't donate to your friends' Kickstarter? A generous donor swoops in and saves the day...and changes the story! Originally performed by theatrical sketch comedy troupe Uncle Function, "Hasidic Fiddler on the Roof," written by Gianmarco Soresi, gets the video treatment! And it's sure to go viral! Check it out below. Oh, and speaking of donating, why not take a visit to patreon.com/theaterinthenow and become a Patron of Theater in the Now today!

Sketch comedy is like that bridge between theater and improv. Comedians being funny in a scripted evening in front of a live audience where anything can happen. Forty years and counting, many aspire to "Saturday Night Live" level but if you can't quite get there to see it, I might have a viable alternative for you. Presented at The PIT Loft, Uncle Function offers an evening of theatrical sketch comedy that is likely to leave you in stitches, at times.
Uncle Function is an ensemble that features the comedic talent of Chris Cafero, Russell Daniels, Alex Fast, Jessica Frey, Douglas Goodhart, and Gianmarco Soresi. Founded by infamous theatrical producer Ken Davenport, this group brings an hour-long evening that mirrors the expectancy of any sketch comedy troupe. The night started off on a super high note with back to back theater inspired sketches, the second of which was the strongest of the evening and quite possibly one of the funniest sketches I've seen in any medium in quite some time. The premise was simple. A borough theater company begin their rehearsals for their production of Fiddler on the Roof. When a heroic Rabbi saves their production by funding their Kickstarter, he is granted laughable permission to update the text to fit the more "traditional" views of Judaism. And the result is epic. It's audaciously racy that stylishly comments on religion, theater, and the dreaded crowdfunding. From here on out, the night provides some fluff scenes before ending strong with three sketches. These included a creepy yoga instructor that left you with the best punch line, an abysmal court stenographer, and a group therapy session for those addicted to pop culture references. The Uncles, as they call themselves, incorporated an array of recurring jokes, including pizza tacos, old headshots serving as all paper products, and common last names that made their way into many of the sketches. It allowed a nice common through line for those paying close attention. With a strong sense of vision, there was a connective tissue that made everything work cohesively.
Uncle Function features a strong sextet that tackles an assortment of roles, each taking a moment in the spotlight. That being said, it's a pretty well-balanced ensemble with a mixed comic types, though some similar types fought for stage time. The biggest presence, on page and stage, was Gianmarco Soresi. Often playing the straight man in the scenes, Soresi has a strong sense of timing and storytelling in short form. Soresi also happens to be the scribe of that epic Fiddler sketch. Also filling the straight man quota was Chris Cafero, though when he took on the touchy-feely spiritual yoga teacher, a playful side of Cafero came out. Russell Daniels stole the show as the slow-typing stenographer who had trouble keeping up with the trial, interrupting with hilarity.
There’s stiff competition in the comedy world but if you’re looking for some up-and-comers that will make you laugh, Uncle Function is here to please. The Uncles may have had some wiffs, but when they swung for the fences, they hit some monster homers.

by Michael Block

Batman and Robin. Bert and Ernie. Peanut Butter and Jelly. Zach and Viggo? While taking their show on the road, Zach Zucker and Viggo Venn took a pitstop at The PIT Loft for a sold out presentation of their acclaimed Zach & Viggo: Thunderflop.
Through a series of comical sketches, Zach Zucker and Viggo Venn take the audience on a journey inside their wild minds. And along the way they must take on some heroic battles including some unruly villainous audience members. Decked out in unitards and tights, Zach & Viggo: Thunderflop thrives upon the thunderous roar of laughter in order to save themselves from flopping in a sea of silence. With a background of physical comedy and clowning, Zach & Viggo can be a dynamic duo, very much like a Bill Irwin and David Shiner tandem, once their bits get a bit of a polishing as a continuous arc. While most of the night Zucker and Venn spend apart, solo in their own scenes, when they are together there is a mesmerizing energy that fills the room. With a simple cardboard "Kiss Cam" and the best of Jock Jams accompanying, Zucker and Venn get a series of unsuspecting audience members to have their chance on the "Jumbotron" and the result is priceless. It's moments like this that make the night a blast. Individually, Zucker and Venn offer a well-balanced comedy. Both guys are super charismatic yet they each have a particular style to their craft. Venn has a classic physical comedy in him in the vein of Monty Python. When Venn breaks out his noodle arm security guard, he shines, like the police siren light taped to his head. Zucker transcends the classical style, contributing a more "commercial" comedy. There's a charm to his demeanor. Between his daredevil feats of stupidity with poppers to his vapid LA actor with a bit of a speech problem, Zucker has a marketable comedic package.
In pieces like this, the desire of breaking down the fourth wall is essential. Many of their beats involved some sort of audience participation. They relied heavily on unwilling participants, many of whom derailed the momentum. With their director, Dr. Brown, defining the clarity of when the audience interaction is desired will be of great worth. Once Zucker and Venn invite the audience to play along, it's fair game for any sort of interaction. Even if it's unwarranted. A heckle or two may seep in and damage the flow. Perhaps even pairing down the participatory moments could help. They should trust their worth as great performers and avoid unnecessary gimmicks. The substance is present. The polishing is next.
Accidental or not, there is a very loose common thread that ties the evening together. The unpopped poppers (or bang snaps or snappers for those of you may have a different item in mind) that explode throughout the night as Zucker, Venn, and their audience friends step on them are a nice throwback to Zucker’s daredevil act but intentional or unrelated is the question. The peeping mouse does help in bookending the show but adding a stronger through line will add an even stronger cohesiveness to Zucker and Venn’s work.
It’s likely this is just the beginning of Zach & Viggo. While a world tour is next, what happens after is what is exciting. There is promise in this young talented duo. Putting a modern spin on throwback comedy is certainly in their wheelhouse. And it’s a welcome reminder of the roots of the genre.


About this production: 

Zach & Viggo: Thunderflop
Written & Performed by Zach Zucker and Viggo Venn
Directed by Dr. Brown
Produced by Jonny Woolley
www.facebook.com/zachandviggocomedy

Names: Zach Zucker & Viggo Venn

Hometown: 
ZZ: New York, New York
VV: Oslo, Norway

Education: 
ZZ & VV: Ecole Phlippe Gaulier in Étampes, France

Favorite Credits:
ZZ: Edinburgh Fringe Festival, Neil Hamburger Live in LA, Crash Test with Paul Scheer and Rob Huebel at The UCB Theatre, Top Story! Weekly at iO West and the Adelaide Fringe Festival in Australia..
VV: Edinburgh Fringe, Copenhagen Improv Festival, Amsterdam Improv Festival, Playroom Festival, The Scenic Art Festival, performing with my comedy group ‘Lausungene’ and being the Norwegian Champion of Theatre Sports

Why theatre?:
ZZ: Because theatre allows us to escape from all of the heaviness in our world and relish in the lightness of fun and fantasy. It’s also one of the last remaining experiences where human beings can directly connect and communicate with other human beings.
VV: The more technology infiltrates our culture the less opportunities we have to truly be with one another. We’re all a part of something bigger than ourselves and theatre allows us to tap into whatever that is.

Tell us about Zach & Viggo: Thunderflop:
ZZ: Zach & Viggo: Thunderflop is a comedy show where two human adults get to unleash their most innocent, ridiculous sides that society tells us to push down. We’re under so much pressure to be good all of the time and that sucks.
VV: Exactly. Our show is all about having fun being bad and owning it. We constantly worry about how we look or how we’re perceived. But the truth is nobody knows why we’re here and we’re all idiots. So let’s all be idiots!

What inspired you to create Zach & Viggo: Thunderflop?:
VV: I came to Edinburgh for the first time three years ago and saw Dr. Brown’s award-winning show Befrdfgth. It totally blew my mind. I remember thinking ‘Wow…Clown. It’s so sensitive. It shows humanity—it’s so much more than just being funny.’
ZZ: Ahh man, his show is absolutely beautiful! Dr. Brown’s show Because was the first clown show that I ever saw and it was revolutionary. I couldn’t stop thinking about how much I loved it. It was so different than anything else I’d ever seen.
VV: Seeing that show changed my life. I ended up studying with Dr. Brown and eventually meeting Zach at Ecole Philippe Gaulier. We became best friends right away so it was an easy decision to make a show together.
ZZ: Philippe Gaulier was the catalyst that ignited our artistic fire.

What kind of theater speaks to you? What or who inspires you as an artist?:
ZZ: Theatre that isn’t pushing an agenda on the audience. There’s such a weird stigma that you have to ‘say something’ so people jam unsubtle messages down your throats. I much prefer the route of light, fun and imagination-stimulating performances that activate our fantasy.
VV: I love theatre where the actors are alive and listening to the audience. Serious theatre is so boring. When you have actors who are at their maximum level of happiness together on stage, that’s when the magic begins to show and the performers vibrate.

If you could work with anyone you’ve yet to work with, who would it be?:
VV: I’m already working with Zach Zucker!
ZZ: *blushes* Stop it!

What show have you recommended to your friends?:
ZZ: Nautilus and Kraken by Trygve Wakenshaw and ANYTHING by Dr. Brown. To clarify, that’s not the name of his show. Any time he’s performing, go and see it.
VV: Spaghetti For Breakfast by Sam Simmons is another incredible show. So is The Herbert In Proper Job by Spencer Jones. And if you find yourself in Norway go check out Det Andre Teatret in Oslo!

Who would play you in a movie about yourself and what would it be called?:
VV: Jim Carrey would play me and the movie would be called "No Mask"
ZZ: Chris Lilley would play me because he’d do a great job making fun of me and it would be called "That Guy"

If you could go back in time and see any play or musical you missed, what would it be?:
VV:  I would go back to 1974 to see Les Assiettes, a clown show by our teacher Philippe Gaulier. He’s the funniest man I’ve ever met.
ZZ: I’m going to have to agree with that. No footage of any of his performances exists. And from all of the stories we’ve heard, it was a masterpiece.

What’s your biggest guilty pleasure?: 
VV: As a young Norwegian I watched every season of "The OC" so I’m pretty stoked about being in California.
ZZ: I love chapstick. No matter what store I walk into, I always find myself in the chapstick aisle buying more and more flavors I’ll never need.

If you weren’t working in theater, you would be ____?:
VV: Building a snowman in Norway.
ZZ: There really isn’t anything else I could see myself doing. Mainly because nothing else worked.. And I mean it really didn’t work.
VV: Yeah we both dropped out of university-
ZZ: I dropped out of three separate schools. I’m three times the dropout Kanye West ever was!

What’s up next?:
VV: We’ve got three more shows in Los Angeles. We’re at UCB on the 11th and Downtown at Basic Flowers on the 14th and 15th before I go back to France. We’re also filming a TV show in LA at the moment. It’s very exciting!
ZZ: Yes we’re filming all of January before we split up again. I’m off to Australia in February to perform at The Adelaide Fringe Festival. I’ll be doing another two-man show with my friend Tom Walker called Zach & Tom: Best Friends at Tuxedo Cat.
VV: Then we’re back in LA in April to perform and finish filming before we return to Europe. We’re performing at The Brighton Fringe, potentially Prague Fringe and heading back to Edinburgh.
ZZ: We’ve also got shows lined up all over in between! We’ll be in London, Paris, Oslo, Copenhagen, Berlin, Bristol, Amsterdam, Dublin and anywhere else that’s willing to have us!

For more on Zach & Viggo check out zachzucker.com and facebook.com/zachandviggocomedy