Tears, Never
Fear
L.A.-based guests of SketchfestNYC more than ready for even bigger
stages.
Pictured:
Kirstin Eggers, Will Greenberg, Todd Waldman, Nick Massouh, Sara Nixon
Kirchner and Rob Kerkovich
In their appearance June 9 at SketchfestNYC, L.A.-based group Summer of
Tears show that they’re more than ready for prime time, even more so
than other groups who may have been rushed along too soon recently (see
review).
Of nine sketches presented, two stood out above and beyond -- the
opening sketch highlighting the singing talent of Kirstin Eggers,
embarrassing her boss (Todd Waldman) at a karaoke party with sung
revelations about her fling with him. The other great piece featured
Will Greenberg’s impression of Matthew McConaughey, which dead-on as it
is, is helped by a well-written premise placing him as the “monster” in
a young girl’s closet at night. It’s the perfect blend of impersonation
and parody -- in less skillful hands, impersonation takes over at the
expense of the satire, but not in this piece.
Throughout their show, Summer of Tears has their own parallel universe
sensibility, stemming from coming of age in the early 1990s, as a sketch
about Sean Young’s crazy bid to play Catwoman in one of the earlier
Batman movies (does anyone remember this -- when she barged into the
producers’ offices in costume?), and a video piece where Rob Kerkovich
hopelessly tries to corral Greenberg, Waldman and Nick Massouh into a
bit to send into “America’s Funniest Home Videos.” This sensibility
comes through in a pop culture aside, where Greenberg, playing Michael
Keaton in the Batman sketch, announces, “Good, because after this I’m
going to drop off the planet for several years.”
And yet, as funny as the videos bit is … it seems like Eggers and
Kirchner are left out of large portions of the show, making it
male-dominated, which is a shame because when they’re more involved, as
in the opening sketch and another one contrasting two couples, one
amorous and the other stilted, the group’s work definitely benefits. In
fact in the McConaughey sketch, Eggers plays a little girl to a tee,
indispensable to making McConaughey look loony.
But the group’s final sketch, an “Old West Stunt Show” transcended
gender lines (with Eggers playing one of several cowboys) and used audio
inventively by syncing to pre-recorded dialogue to give the piece the
feel of something you might see at a theme park, adding to the style of
the delivery of the material.
And even though their show is filled with generation-specific cultural
references, overall the performances and writing are inventive,
surprising and truly funny enough that they merit an even bigger stage.
Also at Sketchfest on June 9, Elephant Larry, which includes festival
producer Alex Zalben, presented a mix of old and new material, live and
on video, that shows just how solid the group has become since it
started in 2002 (see June 2006 feature
story). In addition, this year’s Sketchfest space, the East 13th
Street Theatre, is much more conducive to what the groups in the
festival do than last year’s venue, the Soho Playhouse. This theater
features a large, wide-open floor as the stage, with seating sloping up
and away on three sides, lending the performance more immediacy and also
giving the groups more room to unleash their energy. |