Pure Comedic Dynamite: LAFF IT OFF review

The beauty of theatre, wherever you watch it, is that there may emerge, at any instant, a moment so well executed, so transcendent, so plain damn good, that even the most jaded viewer is taken out of their preconceptions and mental blocks and releases their disbelief.

In Oliver Mair's re-mount of the comedy revue "Laff It Off"" which opened at  New Kingston's Theatre Place on Boxing Day (Dec 26), such a moment occurs about midway through "Spelling Bee" one of the latter skits of the play.

For the first few minutes, the combination of Officer Spellman (Ricky Rowe, more on him anon) and a hapless motorist (Akeem Mignott) plays out in the expected ways. Spellman, the corrupt -and illiterate - cop has the motorist (equally corrupt and illiterate) under his thumb, caught speeding - though we are not shown the actual speed on the "gun" - and pleading to "work things out". After the paltry bribe of a patty and coco bread is flatly rejected, Officer Spellman offers his "victim" one last chance to escape the rap and a certain ticket.

"Spell chuck" [as in "truck"] is the challenge.

What ensues cannot really be described, for it must be experienced. But it is fair to say that with that one sketch, any viewer with half a brain (and a funny bone) would consider his money well spent; it is a sketch that would not be out of place on any comedy show anywhere. It is pure comedic dynamite.

Such heights are not otherwise reached, but producer Oliver Mair, doubling as actor, comes close on two occasions. First, as historic Reggae Boyz football coach Rene Simoes, he nails the combination of innocence, ignorance and unbounded optimism that serves to confound interviewer Simon Croskill (Rodney Campbell)a and then later, he does a "double" of a different kind, playing both Johnny Mathis and Deneice Williams as they voice "Its Over" (Too Much, Too Little Too Late)", one of the selections on a special infomercial CD offered to victims of the failed Cash Plus and Olint schemes.

Those aside, 'Laff it Off" is a solid and robust comedy revue, offering the expected send-ups of people (athletes, entertainers and politicians), places and events in ways that are generally satisfying, and its laughs are delivered without skirting the serious issues. "Jamaica's Finest" presents the earlier contretemps in Gordon House between members Olivia "Babsy" Grange and Lisa Hanna in the shameful light that it deserves, while "New Breed" (the clear highlight of Act I) uses the perspectives of two New Kingston street rats to highlight economic hardship and the increasing prevalence of the "gully boys" who have taken up residence in the drain running from Trafalgar Road down to Dumfries Road.

While not all its skits are "hits" most of the few misfires are still interesting, none more so than "Take A Chance." Its opening premise is overtly personal: a young guy (Mignott) torn over whether he should ask the hot girl (Emprezz Golding, in her theatrical debut) out on a date. It then morphs, rather jarringly into a wider motivational tract, complete with backdrop images of our winning athletes, Marcus Garvey and other inspirational figures. The accompanying song is sine in and of itself, but the images are so compelling that they come close to negating the need for the actors to convey the message.

Oliver Mair (standing, left) and the cast of "Laff It Off"

The cast members each had their respective moments to shine, but with his impish grin, dyed hair, impeccable movement and timing, Ricky Rowe was Prime Time. He almost (but not quite) rescued unworthy filler ("Concentrate" - check the side panel of your everyday juice box), and was invariably the best actor in whichever skit he appeared. Aside from "Spelling Bee" his other fine moment came in "Cutting Edge" a spoof of Mutabaruka's popular radio show, in which Rowe, as a still emotionally crushed, cuckolded Mr Vegas, easily bests Rodney Campbell's Muta - each "music" question inevitably drawing him back to the fateful day, and heightening his meltdown.


Director Craig McNally (also pulling double duty) keeps things moving at just the right pace, with welcome and well-handled audience interaction. The other creative nd technical aspects of the production are more than ably fulfilled. Ratingswise, Laff It Off skirts pretty close to a PG-13 bracket, but parents bring may younger children without feeling inordinately uncomfortable
   
Whatever your age, economic status or creed (there's the obligatory church sequence, well played by Campbell), you'll find that the pre-requisite to enjoying this thatrical breath of holiday fresh air is a sense of humour.



Laff It Off plays weekends at Theatre Place through January 18. For details, call 459-8382/383-0622, check the press or follow the Facebook group at  https://www.facebook.com/groups/1398690393752792/

Hamlet “To Be” in Jamaica Aug 26

“Hamlet” contains arguably the most oft-quoted of William Shakespeare’s myriad quoted lines.

: “To be or not to be. That is the question”

And simple as it may sound, that is the question that has occupied succeeding generations of dramatists, as well as legions of actors, critics, psychologists, and the merely curious for centuries.

Similarly, the title role of "Prince of Denmark" has been make-orbreak for many of the world's greatest actors.

Now the UK’s Globe Theatre Comp

any will give Jamaican Shakespeare aficionados and those prepping the text for Lit exams the opportunity to witness the full scope of the bard’s genius come August 26, with a special fund-raising performance of Hamlet, at Kingston’s Little Theatre.

The Jamaican production is part of a worldwide tour mounted by the venerated company in honour of its iconic associated, whose birth was noted earlier in the year.

A Fundraiser for the Arts Foundation of the EMC, the performance will cost 5K per ticket, and will be under the patrojnage of British High Commissioner, H.E. David Fitton.

The Globe Compant production is supported by  First global Bank

Courtney John, The Future: Taking Reggae into the Theatre of Ideas

There's no serious listener of Jamaican music who would contest that the idiom has gone into a prolonged and unhealthy stasis over the last 25 years. Its not that not good music ha been released over that period, but rather that the few worthy tunes have been bowled over by the tide of mediocrity and even excrement that has prevailed. Simply put, Jamaican music has run out of ideas.

Barely a minute into Courtney John's rendering of Errol Dunkley's "Black Cinderella" one gets the first thrilling jolts of hope; the track is one off his latest project entitled "The Future" - the album's been out for months now and the music's been worked on for even longer but - with material this good - the public may forgive us for being a bit tardy in covering it.

For The Future - notwithstanding that it references the past in covering a decades-old classic (among other tunes) - is Courtney John's theatre of ideas, and those ideas are very powerful, especially from the sonic viewpoint. For the fuss that has been made about "riddims" in the dancehall space since their 90s heyday, only handful of those have proven to be truly transcendent. Onr of that handful is the "Diwali"  the handiwork of keyboard ace Steve "Lenky" Marsden, who is one of John's recording and producing cohorts on this project which he has dubbed "Rootstronic".

On the "Cinderella" track, John's spare yet urgent vocals form a cool counterpoint to the super -spaced-out dub and ambient sounds that form the backdrop, addin

g even greater urgency to the question of the title. But this is far from the album's only stellar offering. Cue up "Soul of A Man" and an even more marvelous contrast emerges, this time with John employing the more familiar falsetto. If "Cinderella" is an homage to the classics, "Soul of a Man" is a torpedo - John, Marsden and drummer-performer Wizzard have put together a sonic storm that sounds not only perfectly logical, but entirely heart-felt and, in fact........human. Similalr effects are realized on "Rain Like Gold" and "Nothing For free"

this is indeed the great virtue of this entire project. john and his partners have managed to  sincerely reinvigorate the Jamaican sound and make it more globally accessible but without robbing it of the warmth and spontaneity for which it deservedly grabbed world attention in the first place. This sounds easier said than done and may come off as casual praise, but if one patiently takes in this album and allows the sounds to simply find their way and wash over one's consciousness, the simplicity and daring within them becomes apparent - in most cases wonderfully so. this is an album which will elicit many an unintentional smile and a nod of the head - not simply in time with the often staccato beat, but in recognition that one is witnessing the evolution of an artist who is intent on pushing the sound forward on his own terms.

it's about time.