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      Is Livestreamed Stand-Up Here to Stay?

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      Two online business models see a future post-pandemic, but success might depend on cooperating with actual clubs.The cultural legacy of the pandemic may not only be shows canceled, careers derailed and theaters and clubs closed. There has also been innovation, like the emergence of the virtual comedy club.What began out of desperation has matured into a new digital genre that has drawn sizable audiences in the habit of buying tickets to livestreaming stand-up from the comfort of their own homes. As clubs now start to reopen, and comics and patrons return to their old haunts, the next few months will be a key test of this business. Was it a pandemic-era fad or will it be an enduring part of the landscape?On a video call from her San Francisco home, Jill Paiz-Bourque, the chief executive of RushTix, perhaps the biggest digital comedy club, made the case that the lockdown only accelerated an already inevitable revolution. “Why did Netflix eclipse television?” she rhetorically asked. “It’s streaming, unlimited, global. Why did Spotify eclipse terrestrial radio? It’s streaming. It’s global. It’s unlimited. And that’s why livestreaming with RushTix eclipses Live Nation eventually because it’s streaming, it’s global, it’s unlimited.”Many are skeptical, including fans who badly miss being surrounded by echoing laughter and stand-ups who are exhausted by performing for screens and who widely prefer telling jokes in the same room as crowds. While conceding that nothing replaces the traditional comedy format, Paiz-Bourque said the doubts will look as shortsighted as early mockery of Twitter, podcasting and so many other now common internet forms. She has good reason for such swagger. Paiz-Bourque’s business, which she calls “a Silicon Valley start-up,” regularly sells over 1,000 tickets to see comics like Sarah Silverman, Patton Oswalt and Maria Bamford. In February, she sold 15,000 tickets to eight shows, bringing in close to $280,000 in revenue.“Once we got our first taste of 5,000 ticket shows, that was intoxicating,” Paiz-Bourque said (Colleen Ballinger, the popular YouTuber best known for “Miranda Sings,” was the breakthrough artist).As touring resumes, Paiz-Bourque is tweaking her vision, moving away from a tight focus on those headlining and radically increasing volume. By the summer, her goal is to produce five shows a day, every day. In other words, to live up to the slogan that appeared on her site before a recent show: “The biggest comedy club on the planet.” She said she wasn’t worried about clubs reopening because “I have way more supply than they have access to.”Laura Silverman and Jonathan Katz from “Dr. Katz, Professional Therapist.”RushTixIn the next month and half, she’s rolling out nine original, interactive series, including competitions (“Very Punny With Kate Lambert”), a cooking show (“Baking It Better with Tom Papa”) and a dating one (“Find Your Boo With Reggie Bo”). She’s also adding closed captioning, a subscription package and new technology that allows patrons to move around the “club” and hear different levels of laughter.The overall vision is to produce new work with emerging artists during the week while doubling down on headliners on Friday and Saturday nights. How will she compete when stars are eager to tour and return to live stages? Simple, she says: Make comics offers “worth their while.” After previously offering 80 percent of tickets sales, she’s recently started guaranteeing up to five figures. She says six figures will become common among an elite few. “I’ve gotten pushback on this from Day 1,” she said about enlisting comics. “Then you start wiring thousands and tens of thousands of dollars and they were like: I get it.”RushTix is hardly the only player in this market. Nowhere Comedy Club, a smaller, scrappier operation that was started by the comedians Ben Gleib and Steve Hofstetter, has booked a stellar lineup of comics, including Mike Birbiglia, Gilbert Gottfried and Nikki Glaser. In something of a coup, Bill Burr recently performed in a benefit production from a studio that Gleib built in his home, a booking that Paiz-Bourque said she was “devastated” she didn’t get a chance on. (She just announced that Burr will be appearing at RushTix on May 16 in a live version of the animated TV show “Dr. Katz, Professional Therapist.”)Gleib, who began Nowhere after ending a presidential campaign in 2019 that left him nearly broke, also performs his own show online every week. And while he is optimistic about the future of livestreaming, he sounded more anxious than Paiz-Bourque about losing comics to touring. “I think we can peaceably coexist,” he said. But as he approaches Nowhere’s anniversary next week, his strategy is not to rebrand or recast so much as make Nowhere fit more seamlessly into the existing ecosystem.He recently started geotargeting, a technology that restricts consumers from certain areas from buying tickets, a tactic he called potentially “game-changing.” This enables a comic heading out on a tour to block the places he’s visiting so as not to depress sales there.Emilio Savone, the co-owner of the New York Comedy Club, which begins indoor shows on Friday, when the city will begin allowing indoor shows at 33 percent capacity with a limit of 100 people, said such digital theaters have a future. “Do I think it can sustain as a seven-night-a-week type of thing? Maybe not?” he wrote in an email. “But I do think it’s a good tool for comedians to work on material, and it offers another way for the comic to engage and reach their audience.”Ben Gleib in soundcheck on Sunday.Nowhere Comedy ClubFelicia Madison, who runs the West Side Comedy Club in Manhattan — which will begin outdoor shows on April 14 but not indoor shows until the city allows for 50 percent capacity — also sees a future involving a hybrid of traditional and digital clubs. “If they’re smart, they’ll work with clubs” to livestream from there, she said.RushTix is already doing that, with the stand-up comedian Godfrey performing from the Gotham Comedy Club on April 7. But neither Paiz-Bourque nor Gleib sound enthusiastic about the economics of such arrangements. Gleib argued that strength of Nowhere was in the relationships it has developed with new comedy audiences. “We’ve reached huge demographics that have never been serviced by comedy clubs,” Gleib said, pointing to patrons who live in remote areas or those with disabilities or social anxiety. “Then there’s the lazy,” he added. “We’re great for lazy people who don’t want to go out.”Nowhere puts fans’ faces onscreen and allows everyone to talk, laugh or even heckle (though they can muted for that, too). This creates a freewheeling show that emphasizes the community of audience and performer. By contrast, RushTix keeps the audience to a chat room and limits laughter to 20 people. Gleib called this “elitist,” saying the RushTix approach didn’t resemble live stand-up.Paiz-Bourque doesn’t argue, saying that since no online show can duplicate a live one, her goal is to produce the best experience. “We gave up on trying to emulate the live experience and the more we gave up on that, the more we started opening up barrels of creativity,” she said.Maria Bamford on her livestream show, “Vindicated.”RushTixIf anything, she wants to move away from a dependence on conventional stand-up, while still booking big names. It’s why one of the first comics she recruited was Bamford, a natural experimentalist who is putting on an unusual show on April 17: after doing a set, she will film herself sleeping for the next eight hours. You can watch and join her for breakfast the next day.Bamford already has a dedicated audience that will follow her wherever she goes. The real test for these clubs will be whether they can develop enough loyalty to get audiences to try less established talents. These platforms tend to benefit those who already have large and engaged online fan bases. When clubs and theaters return, they are going to be booking acts that they know can sell tickets, which may make them more wary of adventurous or emerging comics.There is a real danger right now that we are entering a very cautious moment in comedy as institutions struggle to rebuild, and Paiz-Bourque, a former comic gifted in the art of selling a premise, argues now is the moment for her to fill another niche.Pointing to a logjam of early- and midcareer stand-ups whose careers have been slowed by the pandemic, she said, “Not only is this going to be a business that works. It needs to creatively for all these comedians.” More

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      On ‘S.N.L.’, Maya Rudolph Hosts a Unity Seder as Kamala Harris

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      The “Saturday Night Live” alumna reprised her role as Vice President Kamala Harris in a sketch that also featured Alex Moffat’s return as President Biden.This weekend, “Saturday Night Live” added one more question to the four that are customarily asked at a Passover Seder: Why wasn’t this sketch chosen as the cold open?You had to wait until just before midnight for the topical, politically themed satire that usually kicks off an “S.N.L.” broadcast — this one featuring the host, Maya Rudolph, in her recurring role as Vice President Kamala Harris. Her task? To M.C. a Passover meal intended as a call for unity.“This has been a difficult year for all of us,” Rudolph’s Harris said. “But I really do feel that we are about to see some light. And what better night to celebrate a new beginning than Passover — or as my adopted people call it, Pesach.”Rudolph explained the four questions that would be asked at this particular Seder: “How’s school? Did you eat? When are you giving me grandchildren? And what’s with the haircut?” Then she introduced the man she described as “my rock, my everything, my Semitic smokeshow, my stepbaby-daddy” — Doug Emhoff, the second gentleman, as played by Martin Short.In customary “S.N.L.” style, they were joined by various cast members playing prominent political figures, including Aidy Bryant as Senator Ted Cruz, who brought Israeli-flag cupcakes and pigs in a blanket. (“Well, we can’t have pork or bread, so thank you,” Rudolph told her.)Chloe Fineman appeared as Ella Emhoff, the second daughter, model and fashion designer. “Am I breaking your eyes?” she asked. “Good. You may think I look insane, but I assure you, I’m the most normal looking girl in Bushwick.”Kenan Thompson arrived, playing Senator Raphael Warnock, and was asked by Rudolph to make certain that Georgia remained a blue state.“That won’t be easy,” Thompson said. “They’ll do everything they can to keep Black people from voting. We wouldn’t vote on anything if they had their way. Not even ‘American Idol.’ Jennifer Hudson would have been knocked out in the first round.”The group was then joined by Alex Moffat as President Biden, a role he had played on only one previous occasion, in December. In this appearance, Moffat portrayed Biden as brimming with confidence after his first formal news conference on Thursday.“It was so easy,” Moffat said. “A lot of critics thought I wasn’t mentally prepared enough but I think I” — he paused here to look at a note card — “proved them all wrong.”Moffat then informed Rudolph that he was giving her the responsibility of handling immigration conditions. “Thank you for the opportunity,” Rudolph said dryly. “Such a fun, solvable problem.”Moffat also reintroduced his colleagues to his not entirely tamed dog Major. A few prerecorded growls played, and that was Short’s cue to wrestle gamely on the ground with a stuffed dog.Beyoncé impersonation of the weekIf you’re going to bring Maya Rudolph back to “S.N.L.”, you’d better have her play Beyoncé Knowles-Carter in preposterous circumstances. This time, that setting was “Hot Ones,” the streaming talk show in which celebrities answer questions while trying to eat spicy food.Mikey Day played the role of its host, Sean Evans, and even he seemed confused as to why Beyoncé would appear on the program. “I feel you,” Rudolph said. “I still can’t tell if this is beneath me. But my sister Solange loves this show, so I said I’d do it.”Rudolph didn’t answer many questions, but she did successfully embody an overheated Beyoncé, sweaty and with tears streaming down her face after sampling a sauce that was too hot even for her.Music video of the weekNow that more than 39 million Americans age 65 and over have received at least one dose of a Covid-19 vaccine (according to the Centers for Disease Control and Prevention), what are they going to do with their new status?Why, rap about it boastfully, of course.As Chris Redd raps in this video, playing one such cocky vaccinated senior:Baby boomers, greatest generationGot all the money, now we got the vaccinationCrashed the economy three whole timesAnd when it comes to the vax, we’re the first in lineWeekend Update jokes of the weekOver at the Weekend Update desk, the anchors Colin Jost and Michael Che riffed on possible new White House efforts at gun control after shootings in Atlanta and Boulder.Jost began:Well, this week kind of felt like Biden on those stairs. You thought it had to get better, but then it repeatedly got worse. In the wake of the Colorado and Atlanta shootings, President Biden called for universal background checks for gun purchases. And background checks are a great start, but shouldn’t we also do current checks? Like, what are these guys up to now? How much “Call of Duty” are they playing? Have they recently DMed a girl “hey” 30 times? Or, how about this: If you want a gun, the gun store has to talk to at least five people from your life who agree it’s a good idea for you to have a gun. It’s not really that much to ask. You’ve got to list three references on an application to work at Foot Locker.“And Republicans,” he added, “please stop pretending this is a Second Amendment issue and just admit:You love guns more than people you don’t know. These are your political ads; look at them: [Here a composite image appeared of several Republican figures posing with guns] “You look like you’re running for president of ISIS. If you actually cared about the Second Amendment, you’d also care about the well-regulated militias part. And I don’t know if you noticed when they almost hung you two months ago, but our militias aren’t super well-regulated.Che picked up the riff, replying: “I don’t know what you’re talking about. I just bought a gun last summer when all those white kids started talking about getting rid of the police.”He then switched gears to Biden’s news conference, saying:President Biden gave his first press conference, which lasted for over an hour. Wow, shout out to Fixodent! At the conference, President Biden was asked if he plans to run for re-election in 2024, which is probably the nicest way to ask him if he plans on being alive in three years.Weekend Update deskside segment of the weekThough Bowen Yang is often seen here playing characters like the Chinese trade minister Chen Biao, this week he appeared as himself to address recent efforts to reduce anti-Asian hate and attacks. Yang read from what he said were calls to action he had seen on Instagram, with titles like “Six ways you can check in on your A.A.P.I. friends and tell them they’re so hot,” using the abbreviation for Asian-American and Pacific Islander people, and “Call your Senators and demand that they know about the lesbian characters in Sailor Moon!”Acknowledging that he had no easy solutions to these problems, Yang asked, “What can I say to help how insanely bad things are? If someone’s personality is Punch an Asian Grandma, it’s not a dialogue. I have an Asian grandma. You want to punch her. There ain’t no common ground, mama.”All work and no play of the weekIf you’re a fan of precise parodies of Stanley Kubrick films, or you just like seeing past “S.N.L.” stars reunite with their former castmates, there’s something here for you. In this filmed segment called “The Maya-ing,” Rudolph goes wandering through Studio 8H as if it were the Overlook Hotel from “The Shining.”But no one gets his brains bashed in with a bat — it’s just a clever opportunity for Rudolph to cross paths with old pals like Tina Fey (playing the ghost of an original “S.N.L.” writer) and Rachel Dratch (as herself, in a bathtub). Enjoy your stay, Maya, forever and ever and ever. More

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      Jay Leno Apologizes for Years of Anti-Asian Jokes

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      The comedian said it was not “another example of cancel culture but a legitimate wrong that was done on my part.”Jay Leno, the longtime “Tonight Show” host, apologized for a history of making anti-Asian jokes, saying that at the time he “genuinely thought them to be harmless” but now hopes for forgiveness from Asian-Americans.The comedian said in a joint statement with the Media Action Network for Asian Americans, a watchdog group that tracks anti-Asian comments and incidents in the media and entertainment industries, that he had an attitude at the time that “some group is always complaining about something, so don’t worry about it.” Whenever the show received a complaint, he said, the response was divided into two camps: “We need to deal with this” or “screw ’em if they can’t take a joke.”“Too many times I sided with the latter even when in my heart I knew it was wrong,” Mr. Leno said. “That is why I am issuing this apology. I do not consider this particular case to be another example of cancel culture but a legitimate wrong that was done on my part.”It was a recent realization. In 2019, Mr. Leno, who hosted “The Tonight Show” from 1992 to 2014, made an offensive anti-Asian joke while filming a commercial for “America’s Got Talent,” the actor and producer Gabrielle Union told Variety.MANAA, the watchdog group, had complained for decades about Mr. Leno’s jokes that relied on stereotypes of Asians, to no avail. Rob Chan, the president of the group, said in the statement that he was “happy that Jay came around, and that we will be working together in the future.”Mr. Leno is slated to host a rebooted game show, “You Bet Your Life,” starting in the fall.Mr. Leno’s apology came as Asian-Americans have endured rising discrimination and racist language during the coronavirus pandemic, while also processing the trauma of a recent mass shooting in the Atlanta area in which six of the eight victims were women of Asian descent. Mr. Leno said he would be “deeply hurt and ashamed if somehow my words did anything to incite this violence.”Some Asian-Americans have long argued that their concerns about anti-Asian speech are frequently dismissed as trivial. Asian-Americans have historically been underrepresented in Hollywood and in comedy, and in 2016, a bit by the comedian Chris Rock that relied on Asian stereotypes made it to the Oscars ceremony.While late-night comedians pick a variety of targets, it’s not the first time Mr. Leno has been criticized for jokes that got laughs at the time. Recently, a documentary about Britney Spears by The New York Times brought increased scrutiny to jokes by several late-night hosts about her mental health. Mr. Leno has not apologized to the singer, though others, including Justin Timberlake and some publications, have said they regret their behavior.Azi Paybarah contributed reporting. More

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      For Eddie Izzard, a ‘99’ Ice Cream and a Waterloo Sunset Are Wondrous Things

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      The star of “Six Minutes to Midnight,” opening Friday, tells why Elgar’s “Enigma” Variations, “Great Expectations,” David Bowie and London landmarks hold meaning for her.Eddie Izzard, the British comedian-actor-writer-activist-endurance runner, tends to push herself to the limit. And then some.“I do find — because I had my sort of 10 wilderness years before things took off — that I’ve tried very hard to stay four steps ahead of where I need to be,” Izzard, who is transgender, said in a video interview from London.She performs stand-up in English, French, German and Spanish. She channels 21 characters in a one-person show of Charles Dickens’s “Great Expectations.” She runs multiple marathons for charity — clocking 32 in 31 days in January, each followed by a comedy routine, for her Make Humanity Great Again campaign, which supports global unity and tolerance.And still, Izzard found time to co-write, executive produce and star in “Six Minutes to Midnight,” set in 1939, about a teacher at a finishing school in the south of England whose students include the daughters of high-ranking Nazis. The film, out Friday, based on a true story she learned about from a museum curator in Bexhill-on-Sea, where her family is from, was a 10-year process: five to develop the characters and five to get her acting to a level where she could play a lead, alongside stars like Judi Dench.Catch her while you can: Izzard hopes to go into politics in the near future as a member of Parliament for the Labour party, during which she’ll take a hiatus from performing.With her career in high gear, the timing may not be perfect, but she’s not worried. “There’s the critical momentum you need when you’re going in,” she said, “but that will stick around for when you come out.”Izzard channeled her trademark whimsy into her list of 10 cultural essentials — from the fantasy world of the Narnia books to the simple delights of an ice cream cone — which she wrote herself. KATHRYN SHATTUCK1. Edward Elgar’s “Enigma” Variations My mum used to love to listen to classical music. My mum and dad were married in ‘Adan (Aden) in Yemen and Dad talked of her liking to go up onto the roof of a local hotel and play classical music from a gramophone record as the sun set. I think that, amongst others records, she would have played Elgar’s “Enigma” Variations, as it was one of the classical albums that was often played in the house. My mum died when I was only 6 years old, but I do remember hearing different albums played at home in the years she was alive, and this one stuck with me from an early age. The fact that he was called Edward, and so was I, didn’t hurt.2. “30 Rock” “30 Rock” is just gold dust. If you have a brain and a sense of humor, just buy the first episode. If it grabs you then just do what I did and download the whole box set. The height of great comedy is to be as intelligent as it is bonkers, and this is it. It’s the kind of sitcom that probably only could exist in a post-“Seinfeld” America, and it probably had to fight just as hard as “Seinfeld” did for its own existence over its first few seasons.3. “David Bowie: Finding Fame” The key thing in this documentary to take home to your brain is that it shows the 10 wilderness years before Bowie took off with Ziggy Stardust in 1972. One needs to know that he was in his first band in 1962, when the Beatles were just taking off. So the stamina that 10 years adrift taught him, and also the few times when it looked like things were taking off but then didn’t, must have informed the rest of his career. I didn’t realize until I watched this that he was at times, in the early days, way off course but he kept regrouping and coming back.4. “The Lion, the Witch and the Wardrobe,” by C.S. Lewis It is a great mystical adventure story to feed the imagination of kids. You have to understand that I’m dyslexic and so read very few books, but I read all of the seven Narnia ones when I was young. I later found out that Lewis was lacing in religion to the series, and this made every feel a little hoodwinked about the whole thing. But later, I realized you could just ignore the symbolism if you wanted to.5. “The Great Escape” A classic war film and one I’ve watched many times. The fact it is based in truth, when a lot of war films in those days were not, makes it even better. I like the film so much, I’ve even watched it in German. As I do my stand-up in German, I was playing Berlin, and I bought the DVD of the film there. If you switch on the German audio track and just have English subtitles, it is a different film. Suddenly they’re all talking German, and so it just becomes a battle between an extreme right regime and people fighting for a return to humanity.6. “Waterloo Sunset” Written by Ray Davies of the Kinks and performed by them. It’s a song that I’ve always thought was accidentally perfect for me as I knew exactly where to see a Waterloo sunset. Waterloo Bridge is my favorite London bridge (we have many). When I was a street performer at Covent Garden, I used to walk across the bridge to perform in front of the Festival Hall on London’s South Bank. And at some point soon after Covid, I will perform inside the Festival Hall. And then I’ll watch another sunset and I will play “Waterloo Sunset” again.7. “Pogles’ Wood” If you search for “Pogles’ Wood: Honey Bees” on YouTube, you can see an episode of this early animated TV series that I was mesmerized by when I was about 5 years old. Normally if you watch back at TV shows that you found entertaining at that age, you will find them tired and old-fashioned in modern times. But “Pogles’ Wood” still holds up with its mixture of animated characters, weirdly beguiling music and short pieces of live-action documentary that showed and taught you things from the real world.8. The “99” Ice Cream What did people do before ice cream? Nobody knows. But the “99” is a staple of the British ice cream world. It is just a basic wafer cone with soft white vanilla ice cream swirled on top of it, but the crowning difference that makes it a thing of genius is a chocolate Flake stuck diagonally (always diagonally) into the side of the vanilla ice cream.Once you buy your “99,” experienced users will have their own eating ritual to perform. Mine is always to push the chocolate Flake with one finger so that you push it down into the center of the cone. Then you close the hole in the ice cream over with your tongue and carry on eating the cone as if it never had a chocolate Flake. Then, when you are down to the final handle part of the cone, you have a heady mixture of wafer, vanilla ice cream and flaky chocolate to feast upon.9. “Great Expectations” Charles Dickens was born on Feb. 7, 1812, and slightly bizarrely, I was born on Feb. 7, 1962, 150 years later. Having never read a great work of literature, I thought I should start with a work of Dickens due to the weird link. I chose “Great Expectations” to firstly read and record it to become an audiobook (which I have now done), and then I thought I should turn it into a solo show. So I commissioned my older brother, Mark, to adapt it down from over 20 hours of book into a 90-minute solo performance.Apart from it being one of Dickens’ more mature books and a great story of Pip, Magwitch, Miss Havisham and Estella, “Great X” is also interesting for me as it starts off down to the South East of London, along the river Thames towards the mouth of the river. This is the Chatham, Kent area of England and was where Dickens grew up, and the book starts here in about the 1820s, which is when he was there as a child. So you hear about “the marshes” direct from his childhood, a place that was barren in the winter and glorious in the summer.10. The Parks of London I do find them a joy. Are they culture? I think so, for they can inspire. Two of our biggest are slap bang in the center of London. They are Hyde Park and Kensington Park. They are essentially one large park, but they have West Carriage Drive running between that separates them. The ancient Serpentine River runs through them, which was long ago turned into a boating lake. Speakers’ Corner, where anyone can pull up and hold forth on any subject, is in the northeast corner of Hyde Park — which is right by the beginning of the old Roman road of Watling Street. I encourage anyone to take a walk from the bottom corner of one park to the top corner of the other park on a warm and sunny day, and it will feel like a walk in the countryside. More

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      Can You Love a Stand-Up Special About Loathing?

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      James Acaster’s “Cold Lasagne Hate Myself 1999” is an outstanding show about the worst year in his life. (His girlfriend left him for Mr. Bean, and it went downhill from there.)In his superb new stand-up special, “Cold Lasagne Hate Myself 1999,” James Acaster describes the worst year of his life: After a shattering breakup, suicidal thoughts and a mental breakdown, he started seeing a therapist for the first time. “Because I’m British and that’s what it takes,” he says. “My whole life had to fall apart before I’d talk about my feelings.”Acaster’s show, which toured New York several years ago but only became available for purchase on Vimeo recently, takes aim at England’s famously stiff upper lip. The theme that emerges after two sprawling, ticklishly funny hours of his new show is not just the challenge of talking about mental health but also the perils of stoicism.There’s nothing worse than sweeping generalizations about the difference between American and British comedy, which is my way of excusing myself for making one: There’s a narrative and thematic ambition that you find in British comics like Daniel Kitson, Josie Long and Acaster that is less common among comics here. Perhaps it’s because they cut their teeth putting on hourlong shows at the Edinburgh Festival Fringe as opposed to doing short club sets. In any event, Acaster packs his jokes into a tricky structure in which ideas cohere through metaphors and digressions.In the first act — this is a special with an intermission — he tells of mentioning an emotional breakdown on his “Great British Bake Off” appearance that went viral. He mocks how quickly mental illness turns into entertainment in a way intended to make the audience laugh, and when they do, he gets angry at them. Then they laugh at that.There’s a self-awareness to the way Acaster needles the crowd, which he does repeatedly, mocking his fans and describing his relationship with them as demeaning. His irreverent comedy delights in insulting the audience. “Night after night, I’m the one in the room who knows the most about comedy and I’ve got to win your approval?” he says exasperatedly.There’s purpose to turning his British fans into part of the show. English icons are regular targets of his. He makes the sharpest comic attack on Brexit that I’ve seen and his agile skewering of the transphobia of Ricky Gervais has also gone viral. Acaster already has an almost stereotypically English brand of comedy: cerebral and word drunk, wrapped inside layers of irony and biting sarcasm. It’s rare to see a stand-up show filled with intimate stories that have the feel of a State of the Nation special.Until “Cold Lasagne,” Acaster was best known for four Netflix specials that he released on the same day in 2018. The first and best episode described a girlfriend leaving him after saying: “I love you but I don’t feel like I know you.” It’s the skeleton key to that show, and many of the rest of its jokes provide evidence for her claim. His playful observational comedy keeps the audience at a distance, even claiming at one point that he was actually a police officer in disguise as a comic, a line he stuck to throughout the show. Such commitment to ridiculous conceits is part of the fun of his work.His new special also finds laughs in personas, strutting onstage at the start in sunglasses and knocking cups off a table, swearing at the crowd before grabbing the microphone in a spoof of swagger: “Let’s start with the headlines: I curse now.” He describes another girlfriend’s explanation for a breakup, but this time, the reason is about his refusal to get help, how his sadness spreads. This show is far more confessional than the previous ones. Whereas his past work avoided his private life, this one digs uncomfortably deep.In the second act, Acaster tells three stories of unhappily severed relationships: with his agent, his therapist and his girlfriend. Each is a virtuosic set piece that leans on a certain anxiety over whether he is going to say too much.The highlight is the breakup, a tale that focuses on how his girlfriend went on to date Rowan Atkinson, the comedian best known for playing the English comic institution Mr. Bean, a specialist in bumbling physical pratfalls. In a sad-sack sulk, Acaster describes the peculiarly hilarious horror of being a young comic “left for Mr. Bean,” a phrase he says over and over again with the urgency of violins in a horror movie. It’s a masterwork of cringe comedy, one he consistently digresses from to anticipate the criticism that he is being bitter and petty.Acaster is no truth-telling comic who doesn’t care what people think. He seems concerned about coming off well, but uses his own sensitivity to add another layer of tension to his stories. In explaining the fallout with his agent, he makes a big show of being fair, so much so that he says he will only tell the story from his point of view. It begins: “The first thing you have to know is I ruined everything and I did it for a laugh.”It’s a familiar trick, making someone look ridiculous by imagining the terrible logic of their thinking, but few have committed to it so fully or for as long. Many of Acaster’s jokes have a theatrical quality, and he incorporates not just act-outs, but also elaborate pantomime with props. He even makes a short play out of ordering food at a restaurant to illustrate his opinion on Brexit.He acts out his fights with gusto, and in his dispute with his agent, he reminds you of his struggles with mental health that led him to the therapist, which results in the show’s most explosive fight. When he takes out his phone to read her private text messages to him, he smiles like someone enjoying the pleasure of playing dirty.This is a show that clearly has gone through many incarnations, which may be why with your purchase of “Cold Lasagne Hate Myself 1999,” you also get another 40-minute performance on similar themes. Cold lasagne is actually never mentioned but even “hate myself” seems odd, since there’s so much other loathing going on here.Muffled anger is sometimes a setup, other times a punchline, but always essential to this show. At one point, Acaster says he has toured all over the country, adding, “Let me tell you: I hate Britain, absolutely hate it.”Then he pivots, apologetically, ever alert to the precise arrangement of words. “I phrased that wrong,” he says, pausing. “I hate British people.” More

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      Carl Reiner’s Archives Will Go to the National Comedy Center

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      The collection of papers, artifacts and memorabilia spans Reiner’s career and work on “Your Show of Shows,” “The Dick Van Dyke Show” and beyond.When Carl Reiner died last June, he left a hole in the comedy firmament that no performer, writer or director will be able to fill.Reiner, who would have turned 99 on Saturday, also left behind a trove of documents, artifacts and personal memorabilia, working on TV programs like “Your Show of Shows” and “The Dick Van Dyke Show” and films like “Oh, God!” and “The Jerk.”Now this personal archive will live on: his family is donating it to the National Comedy Center in Jamestown, N.Y., so that current fans and future generations can appreciate the breadth of his accomplishments.“It’s a lot there,” said Rob Reiner, the actor and filmmaker who is Carl Reiner’s oldest child. “We’re talking about an 80-year career. He lived to 98 and he started when he was in his late teens. As I like to say, my father was on television before we owned a television.”Carl Reiner’s archives contain writing and versions of scripts from just about every project he worked on and every phase of his career. They include sketches he composed as a cast member on “Your Show of Shows,” where he worked with writers like Mel Brooks and Neil Simon, as well as early drafts of “The Dick Van Dyke Show,” which Reiner created and originally titled “Head of the Family,” intending it as a starring vehicle for himself.Reiner, right, with Mary Tyler Moore and Dick Van Dyke on the set of their TV series.Carl Reiner Collection/National Comedy CenterOther materials include Reiner’s annotated screenplays for “The Jerk,” “Dead Men Don’t Wear Plaid,” “The Man With Two Brains” and “All of Me,” which he directed and which starred Steve Martin.“It’s hard to overstate Carl Reiner’s impact on comedy as an art form,” said Journey Gunderson, the executive director of the National Comedy Center.“I can’t tell you how many writers and comedians have told me that they were inspired, in particular, by ‘The Dick Van Dyke Show’ because that was the first time they saw comedy represented as a craft,” Gunderson said. “Generations of comedy writers learned that was an occupation via that show.”Reiner had been a member of the National Comedy Center’s advisory board of directors. Gunderson said that after his death, the center approached his family about ways in which it could pay tribute to him. Among these plans, the center will rename its department of archives and preservation for Reiner.Reiner’s archives include unproduced projects and annotated screenplays.Carl Reiner Collection/National Comedy CenterGunderson said that this conversation led to further discussion with Reiner’s family about providing a home for his creative and professional possessions.“We just thought it was a natural thing to do,” Rob Reiner said. “We felt that he had a connection there and he was trying to help launch the place and give it some credibility. When he passed away, we thought this is the place where all of his artifacts, materials and awards should go.”Carl Reiner’s archives also include his Emmy Awards and his Mark Twain Prize for American Humor, many autobiographical writings and drafts of unproduced projects, and even the chairs and TV trays that he and Brooks used in recent years when they sat together in Reiner’s home and ate dinner in front of the television. Gunderson said that the National Comedy Center is planning an exhibition for next year, to mark what would have been Reiner’s 100th birthday.Rob Reiner said he was particularly fond of the archival photographs that chronicle his father’s development as an actor from very humble beginnings.“They used to perform Shakespeare plays at high schools and the kids would sit in with the scripts in their hands so they could follow along,” Rob Reiner said. “While he was up onstage, he’d hear, whoosh, the sound of the pages turning.”Rob Reiner continued, “He told me that one time, he forgot his lines and he started doing Shakespearean double-talk. And you heard this — whoosh, whoosh, whoosh, whoosh — people trying to find out where the heck he was in the script.” More

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      Barbara Rickles, Comedian’s Wife and Target, Dies at 84

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      Don Rickles made jokes about her for decades. But by many accounts, they had one of the happiest marriages in show business.Barbara Rickles, the widow of the comedian Don Rickles and a fictionalized target of his comic insults, died on Sunday, which would have been their 56th wedding anniversary, at her home in Los Angeles. She was 84.A spokesman, Paul Shefrin, said the cause was non-Hodgkins lymphoma.“They were incredibly devoted to each other,” Mr. Shefrin wrote on his Facebook page. “She was the perfect woman for Don and vice versa.”A native of Philadelphia, Barbara Sklar met her future husband through his film agent, for whom she worked briefly. They married on March 14, 1965.By many accounts, the Rickleses had one of the happiest marriages in show business. They socialized often with another enduring Hollywood couple, Bob and Ginny Newhart. Don Rickles died at 90 in 2017.Barbara Rickles helped produce the Emmy-winning documentary “Mr. Warmth: The Don Rickles Project” (2007) and the 2020 release “Don Rickles Live in Concert.” Don Rickles, in serious moments, would note that he was nearly 40 on his wedding day and had struggled for years to find someone.“I advise any young person that gets married, really, work at it. If you work at it, it’s delightful,” he said in 1986, during one of his many appearances on “The Tonight Show” with Johnny Carson, whom he would tease endlessly about his multiple marriages.Mr. Rickles told a different story when he was in his better known “Mr. Warmth” persona. For decades he cracked jokes about his wife’s looks, about their sex life, about her supposed love of jewelry. When he appeared with Frank Sinatra on “Tonight” in 1976, he begged Sinatra to set him up with someone.“I need a girl so bad,” he said in mock despair. “I love my wife, but she’s ill.”The Rickleses had two children: Mindy Rickles, an actor and comedian, and Larry Rickles, a screenwriter and producer who died in 2011 at 41. Ms. Rickles is survived by her daughter and grandchildren.Near the end of his life, Mr. Rickles was filmed reminiscing with Martin Scorsese and Robert De Niro, with whom he worked on the 1995 film “Casino.” The conversation turned to marriage.“You’re married again, right? You’re happy?” Mr. Rickles said to Mr. Scorsese.“Yeah, been married 20 years,” Mr. Scorsese said.“I’m married to Barbara — which is a mistake,” Mr. Rickles responded. “Nah, that’s a joke. She’ll hear it and say, ‘That’s not funny.’” More

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      The Night New York's Theaters, Museums and Concert Halls Shut Down

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      #masthead-section-label, #masthead-bar-one { display: none }At HomeFall in Love: With TenorsConsider: Miniature GroceriesSpend 24 Hours: With Andra DayGet: A Wildlife CameraAdvertisementContinue reading the main storySupported byContinue reading the main storyMarch 12, 2020: The Night the City Sighed to SleepChocolate fountains, Debbie Harry and an artist’s swan song cut short. We gathered scenes from the New York City cultural landscape in the last moments before lockdown.The view from Sardi’s on March 12, 2020, as Broadway and much of New York locked down.Credit…Spencer Platt/Getty ImagesMichael Paulson, Julia Jacobs and March 11, 2021, 5:00 a.m. ETMarch began with an ominous drumbeat. A packed cruise ship with a coronavirus outbreak was left floating for days off the coast of California. South by Southwest was canceled. The N.B.A. suspended its season. And then, on March 12, Broadway shut down, and with it every large gathering in New York City.By the time the grates came down, it was not much of a surprise. The city that never sleeps was grinding to a halt.But it was impossible to imagine what was to come. The staggering death toll. The vast job losses. The isolation. The endlessness.That evening, a group of Broadway bigwigs — theater owners and producers, mostly — gathered to drown their sorrows at Sardi’s, the industry hangout famous for its celebrity caricatures. They noshed, they drank, they commiserated, and they hugged. Several of them wound up infected with the virus, although there were so many meetings, and so few masks at that point, who knows how they got it.They posted signs on their theaters saying they expected to be back four weeks later.Now it’s been 52.Do you remember your final nights out? We gathered scenes from around the city as the curtains closed. MICHAEL PAULSONFondue Fountains, Buckets of Bouquets and Fresh DolceThe dressing rooms at the Brooks Atkinson Theater were filled with flowers. The ruby chocolate fondue fountain was booked for the after-party. Brittney Mack’s mother and her brother and her best girlfriends had all flown into town, not about to miss the moment when the 30-something Chicagoan made her long-awaited Broadway debut as a 16th-century English queen.But it was not to be. Ninety minutes before the scheduled opening of “Six,” an eagerly anticipated new musical about the wives of King Henry VIII, Broadway shut down.“I got to the theater early, and there were gifts from all over — buckets and buckets of plants, and cookies, and so much love, and I was like, ‘Hell, yes,’” Mack recalled. “And then the assistant stage manager came in and said the show is canceled, and I just said, ‘How dare you!’”Credit…Lucas McMahon“It was very, very overwhelming, and all of a sudden I felt incredibly alone. And then I was like, ‘But my dress! And the earrings!’ So many perspectives hit me, and I realized this happened to our entire industry, and I thought, ‘What the hell are we all going to do?’”What most of the “Six” family did was to gather. Mack went out for drinks with her friends at Harlem Public, near her apartment. Meanwhile, the show’s producer, Kevin McCollum, fresh off canceling an 800-person opening night party at Tao Downtown, hosted about 100 members of the show’s inner circle at the Glass House Tavern, a few doors down from the theater.“Looking back, it was ridiculous that we did that, but we didn’t know what we didn’t know, so we had a buffet of crudités, and a host of droplets, I’m sure,” he said. “We were in shock. There were people crying. We were giving it our best stiff upper lip, for the British, but we were emotionally devastated.”The notice posted on the doors of the Brooks Atkinson Theater, home to the Broadway production of “Six.”Credit…Lucas McMahonBundled playbills that would have been distributed to the sold-out audience.Credit…Lucas McMahonGeorge Stiles, an English composer, was among many British friends of the show who had flown over for the opening. Stiles was once in a band with the father of Toby Marlow, who wrote “Six” with Lucy Moss, and had become a mentor and then a co-producer.“Never before has something that I’ve been involved with felt so poised to go off with a crack,” Stiles said of “Six” — quite a statement given that he wrote songs for the stage musical adaptation of “Mary Poppins.” “I was anticipating the euphoria of the crowd, and the fun of the red carpet-y nonsense, and the everyone wanting to be the last one to sit down.”Instead, he and his husband and Marlow’s father licked their wounds at Marseille. What was on the menu? “The sheer awfulness of being this close to a wonderful Broadway run.” Stiles has since put his “suitably regal” gold and black Dolce & Gabbana outfit “into very careful mothballs,” anticipating that there will yet be an opening night to celebrate. “We are very gung-ho,” he said, “and hopeful, fingers crossed, that it wont be too many months away.” PAULSON“We Love You, New York! Don’t Touch Your Face!”Only about half of the people who bought tickets to the March 12 show at Mercury Lounge had turned up, but there were still throngs of people drinking, talking and grooving to the band. Debbie Harry of the band Blondie was there, and so was the music producer Hal Willner. He would die less than a month later from Covid-19.Onstage, Michael C. Hall, the star of “Dexter” and lead singer of the glam rock band Princess Goes to the Butterfly Museum, belted and wailed into the microphone.The staff members at Mercury Lounge knew they were watching their last live concert for a while; what “a while” meant, they had no idea. Bands had been canceling their appearances at an increasing rate, and on a call earlier that day, the owners had asked the staff members if they were still comfortable working, said Maggie Wrigley, a club manager. The line was silent for a moment, before one employee spoke up to say that no, it was no longer comfortable.Michael C. Hall, the star of “Dexter,” and his glam rock band, Princess Goes to the Butterfly Museum, were the last act to perform at Mercury Lounge prior to shutdown.Credit…Evan Agostini/Invision, via Associated PressOthers piped up to agree: They felt exposed and vulnerable to the virus at work. Because the late show had already canceled, the owners decided that the club would shut down that night after the early show.At about 9:30 p.m. — painfully early for a Thursday night on the city’s club scene — the audience was asked to leave. “We love you, New York! Don’t touch your face!” Hall yelled at the end of his set.Alex Beaulieu, the club’s production manager, sanitized the microphones and packed the drum kit, amps and cables for longer term storage.“We locked the door and sat at the bar and had a drink,” Wrigley said of the club’s staff, “and we just kind of looked at each other, with no idea what was going to happen.”JULIA JACOBSA Swan Song, Cut ShortFor Sheena Wagstaff, chairman of modern and contemporary art at the Metropolitan Museum of Art, the spring of 2020 was destined to be bittersweet. The Met Breuer, the museum’s experimental satellite space, was going to close, three years ahead of schedule. But its final show was one she’d spent years preparing: “Gerhard Richter: Painting After All,” a survey of the stern and skeptical German artist, filling two floors of the landmark building and including loans from 30 different collections.The exhibition, intended by the now 89-year-old artist to be his last major show, opened March 4. It had the makings of a blockbuster, and it ought to have introduced New York to four paintings called “Birkenau” (2014): streaked, abraded abstractions that obscure imagery of the titular death camp. On March 12, the show’s ninth day, Wagstaff realized it had to close.The Richter exhibition at the Met Breuer had all the makings of a blockbuster when it closed on its ninth day.Credit…Charlie Rubin for The New York TimesAt first the gravity of the crisis wasn’t fully clear. “I had every anticipation that it was going to reopen in May at the very latest,” Wagstaff said recently. But soon she realized that “Birkenau” — a culmination of Richter’s 60-year engagement with German history and the ethics of representation — would not find an audience. “Beyond a kind of personal huge disappointment, it was that the artist, so aware of his own mortality, was denied the possibility of actually making a mini-manifesto to the world. Alongside that was the curtailment of the Breuer. What we ended up with was this implosion.”Richter never saw the show. A few days before it came down, Wagstaff stood alone with “Birkenau”: paintings about the possibility of perceiving history that, now, no one could perceive at all. “It was a kind of haunting experience,” she said. “They became almost anthropomorphic. They’re sitting there on the walls, and there’s nothing, there’s no one to witness them. The paintings are witnessing something, and that witnessing cannot be conveyed any further.”By autumn, the Met had ceded occupancy of the Breuer to the Frick Collection. Most of Richter’s paintings had been crated up and shipped back to their lenders. Yet “Birkenau,” which belongs to the artist, stayed in New York. Wagstaff brought these most challenging works into the Met’s main building, introducing into the lavish Lehman Collection these four speechless acts of remembrance and horror. “It was a trace of the show. The viewing conditions weren’t perfect,” Wagstaff conceded. “We had really limited attendance; we still do. But people stayed in that room for a really long time. For those who came to see it, it was a revelation.” JASON FARAGOOne Final SetBy March 15, Broadway theaters and concert halls were empty, but in the dim light of the Comedy Cellar, audience members sat shoulder to shoulder sipping drinks and watching stand-up comedy. Masks were not required.The comedian Carmen Lynch was hesitant about showing up that night: Her boyfriend was heading out of the city to stay with his family in Connecticut, and she planned to join him — it seemed like it was time to hunker down. But, Lynch said, she knew that the days of doing multiple shows in a single night were ending, and she wanted to make as much money as possible before the inevitable shutdown. She exchanged texts with fellow comedians to feel out who was still performing.“I thought, ‘I’m not doing anything illegal. I’ll just do this one show and then leave,’” Lynch recalled.In the last stand-up shows at the Comedy Cellar before it closed on March 15, comedians joked about Corona beer and the newly clean state of the subway.Credit…Gabriela Bhaskar for The New York TimesSo her boyfriend took her suitcase to Connecticut while she stayed to perform — one set at 7:45 p.m. another at 8:30. Before each comedian would walk onstage to tell jokes in front of the club’s famous exposed brick wall and stained glass, they would reach into a bucket to take a microphone that had been recently cleaned.Just before Lynch went on, the comedian Lynne Koplitz took the stage, removed the sanitized microphone from the stand and theatrically wiped it down with a white cloth another time, saying, “I’ve wanted to do this for years!”When Lynch finished her second set, she didn’t linger. She called an Uber and felt relieved when the driver accepted her request for an hour-and-a-half drive to Connecticut, not knowing how long she’d be gone (until summer) or what the city would be like when she returned (eerily empty, store windows boarded up).She drove away, and in retrospect, she remembers it like a scene in a disaster movie. “It’s like you’re in the car,” she said, “and you turn around and there’s an explosion behind you.” JACOBSAdvertisementContinue reading the main story More