Some things are worth the wait.
A few years ago my wife and I saw Darwin's Waiting Room, a local comedy troupe, at the Player's Ring in Portsmouth. It was on a lark; we really knew nothing about the show, but local actor Robin Fowler was involved (he's always fun to watch) and we love comedy, so in we went.
That approach has served us well in life. We really like movies, especially the more obscure ones. It doesn't always work out; sometimes the show sucks. But more often than not, we're glad we watched. And so it proved for Darwin's Waiting Room.
After seeing DWR that first time, we vowed to go again as soon as possible. Alas, life got in the way, and it wasn't until this past Saturday that we happily took our seats in the Music Hall Loft — and had the time of our lives.
Fresh back from the Edinburgh Fringe Festival, this group of local talent is clearly at the top of their game. Founder and writer Eric Doucet is nothing less than a very funny and talented man. I met him once — I can't remember where — just saw him out in public and had to stop and shake his hand. I felt like a total geek doing it, but genius deserves recognition.
Produced by Kaitlyn Huwe, the show is comprised of several comedy skits that run from the politically charged to the downright cringe-worthy. At times I actually feared for my own life — it being difficult to breathe when you simply cannot stop laughing.
(Warning: Spoiler Alert.)
Right out of the chute, these guys (and one gal) were off and running.
Beginning with "Mole Men", which was clearly channeling Monty Python's Knights Who Say "Ni!" (no, that's not a criticism), I knew we were in for it. In this first skit, Emily Briand plays a gardener who falls in a hole in her back yard and finds herself, er, "captured" by a group of angry moles whose ineptness is only upstaged by an overblown sense of their own power. What ensues is pure hilarity.
"Good Cop, Bad Cop" was excellent. Michael Towle played the idiot cop well, and Michael Tucker effortlessly maintained an energetic but sincere level of exasperation, and then rage, as a seemingly open-and-shut case unraveled right before his eyes. "Houston", written by Michael Kimball, was a great take on the modern world of outsourcing, and "Aunt Flo", written by Todd Fernald, had us all alternating between laughter and mild discomfort (pardon the pun). It also had the child seated in front of me constantly pressing his mouth to his mother's ear and asking, "What did he mean by ______?"
At first I didn't like "Translation", thinking it a somewhat predictable snipe at American ignorance of, and belligerence toward, foreigners (not that I don't think Americans are too ignorant of, and belligerent toward, foreigners; I just don't care for predictable comedy), but in hindsight I've decided it was really a clever look at how cultural and linguistic differences can easily lead to dangerous misunderstandings, on a world stage. If I ever get a chance to talk to Mr. Doucet again, I'll be sure to ask him if my interpretation is correct.
Aaron Howland was brilliant as the Emperor's favorite in "Tribute", as was Emily Briand as the best groveler. Paul Strand played the distraught mother to perfection in "Adopted". Also noteworthy in this latter skit was Emily Briand again, whose timing as the rear-end of the Centaur (front-end played by Michael Soldati) was the very definition of comedy.
The only flaw in the evening turned out to be intentional. In "Accountant Man", Michael Soldati's ill-timed entrance was actually done on purpose — as the voice-over mentions this super hero's uncanny ability to create socially awkward situations. The effect was perfect; you could actually feel a rising tension in the room, as everyone assumed he'd screwed up. That's talent.
If I had to offer a criticism, it is the duration. At just over an hour long, the show left me feeling like a junkie on half a shot of methadone. When they all took the stage that last time Eric Doucet held up a card that read "Curtain Call". We all clapped halfheartedly, not quite believing it was actually over — not wanting it to be over. I'm kind of sad about that, because in its uncertainty I believe the audience's approval was far, far more muted than it should have been. I wouldn't want these fine writers and actors to ever doubt the quality of the product they're delivering.
Darwin's Waiting Room is clever, insightful, sharp and quick comedy. It will be back at the Player's Ring from March 28 to April 13, so if you're looking for a fun night out, I can't recommend it enough for your Spring schedule. I let a couple of years go by between viewings. I won't make that mistake again.
