The UCB Goes
Comedy Club
Performers Friedman and Rozzi
take their stand-up to the Comix stage
By
Kyle Riveral / Jester correspondent
On Feb. 3, Comix saw a pairing of two well-known
UCB Theatre-spawned performers, Jon Friedman (best known for his ongoing
“Rejection Show” at The Bell House in Brooklyn) and Giulia Rozzi, a
co-host of “Stripped Stories,” which has played at Comix and the UCB at
times.
Jon Friedman took the stage with a somewhat sedated
air. He reminded one of a slow-speaking but smart pothead, not only in
mannerisms but in pun-related, dry humor. Noting the two-drink minimum
at comedy clubs, he cleverly displayed America’s idiocy by recalling
that “drinking used to be illegal in this country. Now it’s mandatory.
Soon in order to gain entry, you’ll be required to run someone down and
commit at least two acts of insider trading.” The wit continued with an
astute mention of the flawed nursery rhyme “stop, drop and roll.”
According to him, these three things are far too much for a child to
retain. “I’m on fire. Is it drop, or stop?” Moreover, two of the three
are altogether unnecessary. Time that is wasted which could be used in
putting the fire out is spent on stopping and dropping. “We don’t need
‘stop.’ And actually, we don’t need ‘drop’ either. Just roll.” The whole
thing, he concluded, should just be changed to “Roll.”
As he does in the “Rejection Show,” where Friedman
and guests share tales of having material and ideas rejected by venues
or media, he explored the comedic process by giving examples of things
comics jot down on the fly. Sometimes an idea comes, he explained, and
you get home and try to flesh it out, but don’t remember what you were
thinking at the time. He held the notebook up and began to read. “Take
the pillow out of the bag? Are you crazy?” He effectively regaled the
audience with another one. Sitting on the train he “knew the joke had to
do with a vagina, so I wrote ‘vagina’ in my notebook. You know how if
someone’s reading a newspaper next to you, you can’t help but glance at
the headlines?” It seems the passenger adjacent to him had turned to see
Jon staring intently at the lone word “vagina” in his notebook. Despite
Friedman not ever remembering the joke, the story turned into the joke.
Giulia Rozzi also takes the stage with a fairly
unassuming presence. But she had a lively bit about an audition for a
commercial in which she was simply directed to “turn to the left, then
right.” Overly-ecstatic about the acting potentiality, she struck a pose
and dramatically shifted from side to side in a twirling motion. “They
say turn left, then right. All I hear is ‘dance!’”
She engaged in long, calm expositions of both
societal and individual deficiencies. One that took hold was the evident
plague of subways with unfit mothers. “You will see the worst mothers on
the subway. I saw a beast of a woman yell at her child after the child
tugged at her saying they’re hungry. ‘Is that my problem?’ Yes! As a
matter of fact it is. You are their mother. Maybe if you spent your
money on condoms instead of the neck tattoo of a bunny holding a gun…”
Rozzi walked the line with commentary on race but
still somehow kept her material light. “I’m Italian, and my Italian
mother thinks there are four races: Italian, of course; black; white;
and ‘Chineses’, she says. I told her that currently I’m dating an
Indian, and she said ‘So he’s black?’ No mom, Indian. ‘So he’s black.’”
The duo, as stand-up performers, tended more toward
discourse rather than rapid-fire jokes and punchlines, but both Rozzi
and Friedman held the attention of the Comix audience and entertained.
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