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Latest items? Unedited? Fringe Report Uncut
Margaret Cho - State Of Emergency
Verdict: Political comedy and mother
Margaret Cho’s London debut fuses her left-wing politics with outrageously astute topical observations (writes Holly Davis) - and finds time to reveal a charming insight into the family life of this outspoken, self-confessed fag-hag.
Chicago comedian Bruce Daniels opens for her. Wearing his ultra-trendy flat cap he speaks in a tone reminiscent of a manly 'And one time, in band camp....'
He makes some amusing - but not ground-breaking - observations on gay marriage and reality TV. He enlightens the audience on ‘circuit parties’ - handy to know to avoid looking like an uninformed fool at pretentious social gatherings.
But he does tend to make sure his jokes are understood. Margaret Cho - eagerly awaited - is greeted with almost impatient applause.
Her vibrant personality awakens the stage and captivates the audience. She immediately seizes attention by attacking today's news. Most of her set is scripted, but it's heartening to see a comedian prepared to make each show different and up-to-date. There's genuinely funny material that could not have been written far in advance.
The 60-minute show rides on an eclectic mix of political rantings, gay rights, societal intolerance, celebrity observations - and a lot of stories about her mother. The latter is excellent - enlightening the audience about her American-Korean upbringing and experiences with sexuality.
Margaret Cho has a remarkable ability to change her face into a cartoonish caricature. She uses it to bring her her Korean immigrant mother to life - recounting her strange answerphone messages and revealing her surprisingly liberal views.
Recollections of her mother - who used to run an open-minded bookshop in San Francisco - add a touch of personal emotion. They make it easy to understand how Margaret Cho can so readily accept everyone. They form a good bridge to her more heavyweight material.
Sometimes the humour is too US-centric for the English audience. Margaret Cho tends to make references that can be alienating if not understood. And her narration is sometimes laborious.
But these criticisms are paltry given her highs. There's clever word-play - the ‘mullet fantasia’ of a right-wing trailer park. There are hilariously shrewd celebrity quips - the dangers of going down on Posh Spice. And satirical tales of racial correctness - such as the time she was confronted with an ‘Asian Chicken Salad’.
Californian and Bjork-like, she wears a multi-ethnic mix of clothes, from clogs to a belly-dancer’s bra. She tends to scream her punchlines - which jars with her calm, intentionally blank face. This is cleverly-crafted; not only to create a more vibrant experience, but also to allow the audience time to enjoy the point - before she changes tack and moves to the next story.
She crosses some dangerous lines. There's jealousy of Muslim women being fortunate enough to wear baggy burkhas - they can eat lots of cake, as fashion doesn’t dictate the need for them to starve themselves on Atkins. Yet her inherently likeable personality sweeps the audience along.
It's fast-paced and easy to watch, which reflects Margaret Cho's abilities as a performer and storyteller. It reaches a natural conclusion, leaving the audience sated but not stuffed. One for the open-minded - though right-wing, homophobic, racist, misogynists might not agree.
Cast Credits: Margaret Cho. Bruce Daniels.
Company Credits: Cho/Taussig Productions: CEO – Karen Taussig. Tour Producer – Silva Touring Inc. London Producer – Toby Leighton-Pope, Clear Channel Entertainment UK. Publicity – Kevin Wilson & Mark White at KWPR.co.uk. New Players Theatre: Theatre Director – Mark Clements. General Manager – Joanna Luke. Box Office Supervisor – Holly Burford. Technical Services – Stage Right Productions. Off West End Theatres: Chairman – Conrad Freedman. Chief Executive – Brian Daniels. Executive Director – Andrew Connolly, Paula Van Hagen. PA to Chief Executive – Mavis Marshall. Finance Officer – Ania Kanik.
END
(c) Holly Davis 2004
reviewed Friday 10 December 04
Fringe Report (c) Fringe Report 2002-2012
www.fringereport.com
